Motion Picture News explained that Corrinne Griffith would begin filming "Into Her Kingdom", based on a nobel by Ruth Comfort Mitchell, upon the completion of the film "Mllo. Modiste" of which she was then currently on the set.
The photo caption beneath Einar Hanson's photograph Picture Play Magazine read, "Einar Hanson, who, made his debut in Corinne Griffith's Into her Kingdom is romantic adventurous, much more like a Latin than Scandinavian." In the article Two Gentlemen from Sweden, Myrtle Gebhardt relates about having dinner with him, her having at first hoped to interview Lars Hanson and Einar Hanson together in the same room. "For it appeared that Einar was working not for Metro, but for First National...Two evenings later I ringed spaghetti around my fork in a nook of an Italian cafe with Einar Hansen...Prepared for a big, blond man, whose bland face would be overspread with seriousness, I was startled by his breathtaking resemblance to Jack Gilbert. "Ya," he admitted, "Down the street I drive and all the girls call, 'Hello Yack' and I wave to them."

Motion Picture News announced the decision for the directorial assignment to the film with Director or Interpreter, "Svend Gade, the Danish director now making Into Her Kingdom is wondering whether he is engaged as a megaphone weirder or interpreter. In directing Miss Griffith, of course, he uses English; but Einar Hanson receives his instructions in Swedish" Meanwhile it also introduced Griffith's co-star, "Einar Hansen, 'The Swedish Barrymore' has arrived in Hollywood to appear opposite Corinne Griffith in her newest First National starring vehicle, Into Her Kingdom, by Ruth Comfort Mitchell." it had been announced by the magazine during early 1926 that, "Corinne Griffith is already planning to start work the first week of March on Into Her Kingdom though now she is only now finishing Mlle. Moditte, both of which are to be First National releases. It is uncertain whether a viewable copy of "Into Her Kingdom" exists, it has appeared as a lost film among films listed as not surviving made by First National, and it seems omitted on lists of lost silent films as either being missing or as being surviving, but at any rate locating a copy held by a museum which preserve films seems beyond public access.

The year 1912 was to mark the first film with Lillian and Dorothy Gish, “An Unseen Enemy” (one reel), directed by D.W. Griffith. Lillian and Dorothy Gish appeared in a dozen two reel films together during 1912 and several more during 1913. In The Man Who Invented Hollywood, the autobiography of D.W. Griffith, published in 1972, Griffith outlines his arriving at the Biograph Film Company and adding actors, including Mary Pickford,tohis ensemble. Griffith recalls, "One day in the early summer of 1909, I was going through the dingy, old hall of the Biograph studio when suddenly the gloom seemed to disappear. The change was caused by the prescence of two young girls sitting side by side and on a hall bench...They were Lillian Gish and Dorothy Gish. Of the two, Lillian shone with an extremely fragile, ethereal beauty...As for Dorothy, she was lovely too, but in another manner- pert, saucy, the old mischief popping out of her." Actress Lilian Gish, in her autobiography, The Movies, Mr. Griffith and Me writes,"Mr. Griffith had rehearsed 'The Unseen Enemy' with other actresses, but after meeting us, he decided we would be suitable for the leads and changed the plot just enough to fit us."
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Lillian and Dorothy Gish Biograph Film Company

Notably, Mary Pickford and James Kirkwood, who would later become her director, appear under the direction of D. W. Griffith in the one reeler "The Cardinal's Conspiracy", along with Mack Sennet as well as Griffith's wife Linda Ardvidson and actress Kate Bruce. The film was photographed by G.W. Bitzer for the Biograph Film Company.
The periodical Moving Picture World reviewed the film with an early description approaching genre theory. "The picture is of the costume kind. In other words, one, when looking at it, has gone to the pages of Stanely Weyman, Henry Harland or Morris Hewitt for his inspiration. We breathe the atmosphere of court life and are taken back, as it were, into a far more romantic period than the present." The periodical continued by regretting that they had viewed the film in "cold monochrome" rather than a more vibrant spectrum of pageant. Biograph Films had advertised the film in the previous issue of Moving Picture World, sharing the full page with Selig, Independent and Kalem studios. Paired with the film "Friend of the Family", Biograph proclaimed that in the film "The Cardinal's Conspiracy", "The subject is elaborately staged, comprising some of the most beautiful exterior scenes ever shown."In her autobiography When The Movies Were Young, Griffith's wife Linda Arvidson sees the film as the first important screen characterization for actor Frank Powell, adding him to the "remarkable trio" at Biograph of actors Frank Powell, James Kirkwood and Henry B. Walthall. Tom Gunning points to the film belonging to a period when a cinema of narrative integration in fact centered on characterization and accordingly developed film technique with that in mind. To accomadate that narrative integration and its movement to a versimilar acting rather than the florid, histrionic gestures of a filmed theater, Griffith would bring the camera into the story.
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victorseastrom shared this story from Scott Lord.

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Please note that the Midnight Ride of Paul Revere occurred the day before The Shot Heard Round the World, as was its purpose. During 1772, Paul Revere had made church bells manufactured from copper and tin for several of the churches in Boston.
This is the view of Paul Revere's grave from inside the church, on Brimstone corner, a granary used to store gunpowder during the revolution. Donna is cataloging book donations in the library- I have lunch overlooking the graveyard. Today is Palm Sunday.Scott Lord
Silent Film This New England Primer bridged the "Gap" during the shift from Ecclesiastical Puritan to Patriotic Colonial.

The periodical Motion Picture News during 1926 the filming of "Temptress" with a review entitled "Greta Garbo in the Title Role of 'The Temptress'. It read,"Greta Garbo, Swedish actress, will have the title role in Cosmopolitan's production of 'The Temptress, which will be a Metro Goldwyn Mayer release directed by Mauritz Stiller. She is now working in 'Ibanez' The Torrent'." Greta Garbo had in fact signed to do the film on the condition that Stiller was to direct.
Author Forsyth Hardy, in his volume Scandinavian Film, curtly, only briefly mentions that Mauritz Stiller was removed as director of the film after a disagreement with Metro Goldwyn Mayer. Biographer William Stewart, in The True Life Story of Greta Garbo gives an account purporting that Mauritz Stiller "had not yet mastered the American method of making pictures. Handling crowds gave him trouble and his lack of English made every move difficult."
Biographer William Stweart, in his volume The True Life Story of Greta Garbo claims that Greta Garbo had begun her living as a recluse and refusing to be seen in public as early as the film "The Torrent", excerpts from the biography reprinted in the oeriodical Modern Screen during 1937 quoting the actress as having turned journalists away with "I have nothing to wear." The biography gives an account that the young Garbo soon relented to the studio and its demands for publicity.
Silent Film Greta Garbo Victor Seastrom

Motion Picture News during 1921 readily boasted that more than seven different types of "exploitations" were used to advertise the film "The Four Horsemen of the Apocalypse" starring Rudolph Valentino. Motion Picture Directing, published in 1922, showed a director Rex Ingram using a white, square canvass reflector to exploit sunlight during the filming of exterior scenes.
Author Benjamin B Hampton, in his volume A History of Movies, discusses the rise of screenwriter June Mathis to producer with the film "The Fourhorseman of the Apocalypse" and her effort to "plan the details of camerawork before photography began. This process of planning had been shared by Tucker and a few other directors who called it 'shooting the story on paper before shooting it on film'. 'Shooting on paper'...requires highly trained technical knowledge, clear thinking, a power of visualization and a rounded conception of the picture before camerawork begins. Its advantages are low cost production."
The film was based on the novel writtenby Vincente Ibanez. Silent film Rudolph Valentino

Please note that the Midnight Ride of Paul Revere occurred the day before The Shot Heard Round the World, as was its purpose. During 1772, Paul Revere had made church bells manufactured from copper and tin for several of the churches in Boston.
This is the view of Paul Revere's grave from inside the church, on Brimstone corner, a granary used to store gunpowder during the revolution. Donna is cataloging book donations in the library- I have lunch overlooking the graveyard. Today is Palm Sunday.Scott Lord
Silent Film This New England Primer bridged the "Gap" during the shift from Ecclesiastical Puritan to Patriotic Colonial.

In 1930 G?sta Ekman and Stina Berg appeared in the film For Her Sake (For hennes skull) written by Ivar Johansson directed by Paul Merzbach, which also starred Inga Tiblad. In regard to the tradition in Scandinavian filmmaking of incorporating the enviornment into the storyline and the transition from silent film to sound, author Forsyth Hardy looks toward Hollywood to describe For hennes skull only to clarify the technique Gustaf Molander was soon to develop more fully behind the camera, "The film had little significance beyond its proof that in Sweden, as elsewhere, the microphone wa a cramping influence on the movement natural to the medium." And yet without mentioning how groundbreaking the films of the period were in the history of the relationship between the screenplay and the shootingscript, now that the photoplay had ended as a form of literature, Hardy continues by noting that during the early sound films photographed by Julius Jaenzon and directed by Victor Sjostrom both had tried to remain faithful to the old medium of silent film and its near precedence of plotline over dialougue by making the use of the microphone less noticeable during the film, possibly giving the new form more value. Paul Merzbach followed in 1931 with the film The False Millionare (Falska Millionaren), starring Fridolf Rhudin, Gunnar Bj?rnstrand and Annalisa Ericson and photgraphed by Elner Akesson. Swedish director John Lindlof contributed the film Den Gamla Garden with Margareta Schöström and Marta Lindlöf during 1931. Greta Garbo director Eric Petschler that year directed Guken Cederborg, Greta Anjo and Marta Claesson in the film Flickan fran Varmland. Swedish film director Per Lindberg in 1931 established three theaters with actor Gosta Ekman, among them being included Vas-teatern and Konserthusteatern (The Large and Small room). Actor Hasse Ekman was given the play "Fredja" by Per Lindberg in 1934. Edvin Adolphson G?sta Ekman and Annalisa Ericson. Branner had directed his first film, Tango-foxtrot, in 1930. Also starring in Molander's 1951 film Franskild were Inga Tiblad, Irma Christensen and Marianne Löfgren. One Night (En natt, 1931) directed by Gustaf Molander and written by Ragnar Hylten-Cavallius owes much of its construction to its assitant director, Gosta Hellstr?m. Hellstr?m had been a film critic who met with both Eisenstien and Pudovkin before returning to Sweden. It is distinct from Molander's other film in its technique, in its editing. Appearing in the film are Gerda Lundequist, Unno Henning, Sture Lagerwall, Ingert Bjuggren and Karin Swanstr?m. The cinematographer to the film was Ake Dahlquist In 1932, Gunnar Skogland wrote and directed the film Landskamp with Fritiof Billquist, George Blomstedt, Gun Holmquist, Signhild Bjökman and Signe Lundberg-Settergren in her first film as an actress. The cinemaographer to the film was Elner Akesson. Actress Ingrid Bergman has a brief role in the film, as does Corcordia Selander, and yet in her autobiography, My Story, Bergman omits the name of Gunnar Skoglund entirely. Bergman, rather, relates an account of her having been given a screen test with Gustaf Molander. "I knew an actress named Karin Swanstr?m came into his shop from time to time. She was a fine comedy actress, but now she was the artistic director of Swedish Films", wrote Bergman. She quotes Karin Swanstr?m as having told her that she would arrange a screen test for her within a week but then abruptly telling Bergman, "No, wait a minute, I'll see if I can arrange it now." It would be Gustaf Molander that would recommend her to Edvin Adolphson until it would later become possible for her to film with him. Weyler Hildebrand in 1932 directed his first film, Baklaxan, as well as the films Navvies of the Crown (Kronans rallare), Muntra musikanter, starring Ulla Sorbon and Anna Olin and The Southsiders (Soderkakr), starring Sigurd Wallen. Soderkakar was the first film in which actress Rut Holm was to appear. Ragnar Arvedson was the assistant director to the film Modern Wives (Modarna fruar, 1932), written and directed by Edvin Adolphson based on the play written by Algot Sandberg. , Jag gifta mig- aldrig, the first film in which Viran Rydkvist was to appear, was brought to the screen that year by director Eric Berglund. In 1932, John Lindlof directed Tva man om en anka, written by Borje Larsson and photographed by Julius Jaenzon. The film stars Tollie Zellmann. Sigurd Wallen in 1932 directed the films The Boys of Storholmen (Pojkarna pa Storholmen) with Margit Manstad, Anna Olin and Ruth Stevens. In Denmark, two years earlier a novel about a poet, Havoc (Haevaerk) had begun a look at the world by Danish literature than would become from then increasingly more modern, although its author, Tom Kristensen, had in fact begun publishing poetry in Denmark in 1920 with the volume Freebooter's dreams (Fribytterdromme). In 1932 it would be followed by the novel Jorgen Stein, written by Jacob Paludan. Playthings (Legetoj), written by H. C. Branner would introduce H. C. Branner to Danish audiences in 1935. Branner would later write the novels The Riding Master (Rytteren) in 1949 and No One Knows the Night (Ingen Kender Natten) in 1955. AB Europa, housed at 10 Drottingatan in Stockholm, began its production of film in 1930, among the films it made being those of Schamyl Bauman, beginning in 1933 with Secret Agent Svensson (Hemliga Svensson), starring Fridolf Rhudin and Weyeler Hildebrand and Saturday Nights (Lordagskvallar), starring Ejvor Kjellstrom and Ruth Weijden. Both films also star Edvard Persson. Swedish actress Emy Hagman appearred in her first film that year, Flickan fran varuhuset, under the direction of Anders Hendrikson and Torsten Lundqvist, Brita Appelgren having starred with her in the film. Dora Söderberg, wife of Swedish actor and director Rune Carlsten, was afforded one of her early on screen appearances. Tancred Ibsen directed his first film in 1933, Vi som gar kjokkenveien, his following it with Synnove Solbakken (1934), starring Victor Sjostrom and Fritiof Billquist. Edvin Adolphson in 1933 directed the film What do Men Know (Vad veta val mannen), scripted by G?sta Stevens as well. Ivar Johansson in 1933 wrote and directed both Boman's Boy (Boman's pojke), with Birgit Tengroth,adapted by Ivar Johansson from a play by Siegfried Fischer. Marmstedt that year directed G?sta Ekman and Karin Kavli in the film Perhaps a Poet (Kanske en Diktare), co-scripted with Torsten Flodin. Also appearing in the film is Gunnar Olsson, who would direct his first film Jarnets man, with Hjalmar Peters, in 1935. Janets man was written by Johan-Olov Johansson and photographed by Eric Bergstrand. In 1934 Marmstedt follwed by directing Ake S?derblom and Astrid Marmstedt in the film Eva Goes Aboard (Eva gar Ombord) and Birgit Tengroth and Edvin Adoplphson in the film Atlantic Adventure (Atlantaventyret), also co-scripted with Torsten Flodin. Hasse Ekman appeared on screen in 1933 under the direction of Ragnar Widestadt in the film Hemslavinnor, with Maj Tornblad, Anna Widforss and Isa Quensel. Gösta Stevens wrote the screenplay to the film. That year Hasse Ekman also appeared in the film A Night on Smygeholm (En Natt pa Smygeholm) under the direction of Sigurd Wallen, the film also starring Annalisa Ericson and Anna Olin. It was scripted by Gösta Stevens and photographed by Julius Jaenzon. Karin Ekelund appeared in her first film, Marriagable Daughters (Giftasvuxna dottrar), in 1933, the film directed by Sigurd Wallen from his own screenplay and photographed by Julius Jaenzon. Also starring in the film are Birgit Tengroth and Maritta Marke. Arne Bornebusch directed his first film in 1933, Hur behandlar du din hund?, it also being the first screenplay written by Bengt Idestam-Almquist. The pen name of Idestam-Alquist was Robin Hood, his having had been being being one of the early film critics of Sweden, later publishing the volume Den Svenska Filmens Drama: Sjöström och Stiller (1938). Idestam-Almquist had appeared as an actor in the 1920 film Gyurkovicsarna. One of the more widely read of the early novels of Swedish author Eyvid Johnson, Here is Your Life (Har har du ditt live), was published in 1933, as was the novel Cape Farewell (Kap Farval), written by Harry Martinson. Birgit Rosengren starred in her first two films in 1934, The Girls from the Old Town (Flickorna fran Gamla St'an) with Karin Ekelund and The Women Around Larsson (Kvinnorna kring Larsson), with Sture Lagerwall, the director of both films having been Schamyl Bauman. The following year she appeared in the film Flickor pa Fabrik directed by S?lve Cederstrand. Schamyl Bauman followed in 1934 with the film Larsson's Second Marriage (Larsson i andra giftet). in 1934 Ivar Johansson that year directed Sickan Carlsson and Greta Woxholt in the film The Song to Her (Sangen till henne) and Anna Olin in the film Uppsagd, both films photographed by Martin Bodin. Uppsagd was the first film in which actress Margit Andelius was to appear. Emil A Lingheim directed his first film in 1934, Bland karparoch foreller. John W, Brunius had appeared as actor in the 1931 film Red Day (Roda dagen), directed by Gustaf Edgren and written by S?lve Cederstand. Photographed by Ake Dalqvist and directed by Edvin Adolphson and Sigurd Wallen, The Count of the Monk's Bridge (Munksbrogreven, 1934-5) is a showcase for a young Ingrid Bergman. The screenplay is listed as having been written by Arthur Natrop and Siegfried Fischer (Greven fran Gamala Sta'n) and the scenario as having been penned by G?sta Stevens. In her autobiography, Ingrid Bergman recounts that during her first scenes she had nearly overstepped her bounds with the actress Tollie Zellman and that Edvin Adolphson had addIn ed a kind word for her. Per G. Holmgren directed his first film in 1935, Havet lockar. Gosta Rodin in 1935 directed Sickan Carlsson and Lili Ziedner in the film Karlek efter noter, written by Torsten Lundqvist and photographed by Martin Bodin. That year he also directed Sickan Carlsson for Svensk Talfilms in The People of Smaland (Smalanningar), also scripted by Torsten Lundqvist. Rune Carlsten that year directed The Marriage Game (Aktenskaplekan) with Zarah Leander, Anna Olin and Ingeborg Strandin, the assistant director to the film Rolf Husberg, the script written by Ragnar Hylten-Cavallius. Directed by Edvin Adolphson for Wivefilm, cowritten with the director by Oscar Hemberg and photographed by Elner Akesson, Flickornas Alfred (1935) was to star Birgit Tengroth , Hilda Borstr?m and Olga Andersson. Andersson had starred with Greta Garbo in 1920 in the short films photographed by Ragnar Ring. In 1936 Gustaf Molander directed the films The Honeymoontrip (Brollopsresan), starring Karin Swanström, Ulla Sorbon, Karin Albihn, Edvin Adolphson and Anne Marie Brunius, The Family Secret (Familjens hemlighet), from a screenplay by G?sta Stevens. Ingrid Borthen had a small role in the film The Family Secret, it being the first film in which she was to appear. Gideon Wahlberg directed his first film in 1936, Soder om landsvagen, starring Agda Helin, Inga-Bodil Vetterlund, Mim Ekelund. It is particularly interesting that Swedish silent film director George af Klerker also appears in the film as an actor. The King is Coming (Kungen kommer), written and direted that year by Ragnar Hylten-Cavallius, starred G?sta Ekman, Birgit Tengroth, Ingeborg Strandin and Tollie Zellman and was produced for Terra film. The beautiful Finnish actress Ansa Ikonen began starring in film durring 1935-36 in two films under the direction of Finnish director Valentin Vaala, Everybody's Love (Kaikki rakastavat) and Surrogate Wife (Vaimoke), both having starred Tauno Palo. Ragnar Arvedson in 1936 wrote and directed the films The Ghost of Bragehus (Spoket pa Bragehus),with Annalisa Ericson, Poor Millionares (Stackars Miljonarer), with Anna Olin and Are We Married (A vi giftas?) with Karin Ekelund. Johan Ulfstjerna (1936), starring Edith Erastoff and Einar Hanson, was directed by Gustaf Edgren and photographed by Julius Jaenzon. Edgren followed with the film The Russian Flu (Ryska snuvan, 1937), starring Edvin Adolphson. Greta Garbo biographer Fritiof Billquist appeared with Karin Ekelund and Birgit Rosengren in Flickor pa fabrik (1935) directed by S?lve Cederstrand, the first film in which actress Britta Estelle was to appear. Arthur Natorp in 1936 directed his first film, Karlek och monopol, photographed by Eric Bergstrand. Anders Henrikson in 1936 directed the film Annosera!, photographed by Martin Bodin. Gunnar Fischer that year worked as assistant cameraman with Swedish cinematographer Elner Akesson under the direction of Anders Henrikson on the film He, She, and the money (Han, hon, och pengarna), starring Ruth Stevens, Kirsten Heiberg and Maritta Marke. The film was editied by its assistant director, Rolf Husberg. Swedish actress Margit Andelius starred as the protagonist of Raggen, That's Me (Det ar jag det) that year, the film having been directed by Schamyl Bauman and photographed by Hilmer Ekdahl. The film also starred Anna Olin, Aino Taube, and Isle-Norre Tromm. Swedish poet Harry Martinson had two novels that appeared in bookstores during 1935 and 1936, Flowering Nettles (Nassloma blomma) and The Way Out (Vagen ut), respectively. Cinematographer Ake Dahlqvist may very well be presently be known to audiences in the United States as the cameraman behind the viewfinder to the film Intermezzo (1936) directed by Gustaf Molander from a script he co-scripted with Gösta Stevens. Both Hasse Ekman and Anders Henrikson appear in the film, as do Inga Tiblad, Britt Hagman, Swedish silent film star Emma Meissner and the young actress that still directs audiences to the film by her having later remade it in the United States, Ingrid Bergman. Intermezzo was the first film in which actress Millan Bollanden, who was seen onscreen with Ingrid Bergman often, was to appear. In her autobiography, Ingrid Bergman writes that she was reluctant when asked to film One Night Only (En Enda Natt, 1937) and that she had hoped to star in the film A Woman's Face (En kvinnas Ansikte, 1936). Both films were directed by Gustaf Molander and scripted by G?sta Stevens. "Look," she had said, "I'll only do your film if you let me do the girl with the distorted face." She quotes Gustaf Molander as having said, "The technicalities of the distorted face were fine, but I couldn't get the story right." There is and account given by Ingrid Bergman of her having had been being asked to supply an eding to the plotline before the shooting of the film had finished and of the concluding scenes of the film having been based upon her idea. One Night Only was photographed by Elner Akesson, the assistant director the film having been Hugo Bolander. A Woman's Face was photographed by Ake Dahlqvist. Signe Hasso appeared on the screen during 1937 under the direction of Schamyl Bauman, starring in the film Witches Night (Haxnatten) with actresses Ruth Stevens, Gerda Bjorne and Marta Lindlof. John Lindlof in 1937 directed the film Odygdens beloning. Gustaf Molander in 1937 directed Tutta Rolf in the film Sara lar sig folkvett, written by Gösta Stevens and photographed by Julius Jaenzon. Jaenzon also that year photographed the film Cleared for Action/Clearly to drabbning (Klart till drabbning), in which Edvin Adolphson directed his daughter, Swedish actrees Anna-Greta Adolphson. The film was scripted by Weyler Hildebrand and Torsten Lundqvist and also stars Ake Söderblom and Sickan Carlsson. Gosta Rodin wrote and directed the film The Pale Count (Bleka greven), photographed by Sven Thermaenius. Produced by Svensk Talfilms, the film stars Anna Olin, Karin Ahbihn and Aina Rosen. Alice Babs starred in her first film in 1938, Thunder and Lightning/Flash and Thunder (Blixt och dunder), directed by Anders Henrikson and also starring Hasse Ekman, Frida Winnerstrand, Marianne Aminoff and Sickan Carlsson. Also starring in her first film in 1938 was Sif Ruud who appeared with Linnea Hillberg, Olga Hellquist, Gudrun Lendrup and Birgit Rosengren in Kloka gubben, directed by Sigurd Wallen and written by Gosta Werner. Hortensia Hedstrom that year appearred in her first film, Svensson ordinar allt, directed by Theodor Berthels. Co-scripted by Berthels and Gosta Werner for Svea Film, it stars Swedish silent film director George af Klerker, Karin Albihn, Sally Palmblad, Helga Hallen and Olga Hellquist. Anders Henrickson brought Tutta Rolf, Mimi Pollack and Karin Swanström to the screen in 1938 in the film The Great Love (Den stora Karleken) which he wrote and directed for Wivefilm, Stockholm. That year Gunnar Fischer photographed his first film, Only a Trumpter (Bara en trumpetare), scripted by Torsten Lundqvist and also directed by Henrikson. Director Nils Jerring in 1938 brought Wera Lindby and Ruth Weijeden to the screen in the film Figurligt talat, photographed by Martin Bodin. Ragnar Hylten-Cavallius that year directed Lars Hanson and Karin Ekelund in the film Wings around the Lighthouse (Vingar kring fyren), Cavallius also having the screenplay. Gustaf Molander in 1938 directed Ingrid Envall in her first film Dollar, starring Georg Rydeberg, Tutta Rolf, Kotti Chave and Birgit Tengroth. Filmed from a script co-written by Stina Bergman, the cinematographer to the film was Ake Dahlqvist. Dollar begins as a film of interior shots and Molander tracks with his characters as he cuts between close shots, oftent cutting with the camera one moment and abruptly cutting to brief dialouge shots, or in between fairly quick dollyshots and close shots positioned from varying angles during an early card game scene. In the adjacent interior scene, Ingrid Bergman dances with her own shadow and the shadow of her parrot as Molander's camerawork is moved into a drawing room with four women, each crossing the set untill the men and women later pair together, a pairing together that locates the rest of the film in ther interior of a ski resort. The pace established by shot legnth then slows down and the editing becomes less pronounced as the men and women are the kept together more often as a group, more often in full shot as the storyline relies almost entirely upon dialouge for its development as each character crosses the set from one conversation to the next. Molander often cuts quickly after a line of dialouge, often constructing the shot-structure of the individual scenes by cutting on action. The is only one character other than the one played by Edvin Adolphson introduced during the film, that of an actress from the United States, Mary, the dollar princess. Sven Thermaenius that year photographed the film Du gama du fria, written and directed by Gunnar Olsson and starring Hilda Borgstr?m, Karin Ekelund, Sigurd Wallen and Gull Natrop. The film was produced by AB Europafilm. Kaj Aspegren directed his first film, Studieresan, in 1938, photographed by Erik Bergstrand and starring Signe Lundberg-Settergren and Marta Dorff. Per Lindberg in 1939 also directed the film Glad dig din Ungdom, starring Birgit Tengroth, Hilda Borgstr?m, and Anna Lindahl. Photographed by Ake Dahlqvist, the film was co-scripted by Vilhelm Moberg with Per Lindberg and Stina Bergman from his novel Sankt Sedebetyg. Weyler Hildebrand in 1939 directed Sickan Carlsson and Ake Ohberg in Landstormens lilla Lotta, scripted by Torsten Lundqvist. Rolf Husberg began as an assistant director to the film Giftasvuxna dottrar (1933). He directed his first film, Midnattsolens in 1939. Gustaf Molander used the talented pioneer Julius Jaenzon in 1939 to photograph Filmen om Emelie Hogvist starring Signe Hasso and Elsa Burnett, the first film in which Karin Norgren had been given a small role. Elsa Burnett also starred in Molander's film Ombyte fornojer, with Tutta Rolf. Both films were scripted by Gösta Stevens. Signe Hasso would also that year appear in the film Us Two (Vi Twa), directed by Schamyl Bauman and starring Ilse-Norre Tromm and Gunnar Bjornstrand in an early film role. Schamyl Bauman in 1939 directed Anders Henriksson and Sonja Wigert in the film Her Little Majesty (Hennes Lilla Majestat), the film also starring Swedish film directors Carl Barklind and Gunnar Hoglund. Also directed by Schamyl Bauman that year was the film Efterlyst, photographed by Hilmer Ekdahl and starring Edvin Adolphson, Birgit Rosengren, Isa Quensel, Carin Swensson and Linnea Hillberg. Anders Henrikson in 1939 directed the film Valfangare, with Tutta Rolf. Ragnar Frisk directed Ann-Margret Bergendahl in her first film in 1939, Den Moderna Eva, photographed by Karl-Erik Alberts and starring Ake Uppström. Siv Ericks appeared in her first film that year Rosor varje kvall, directed by Per Axel-Branner. Also in the film are Carl Barklind, Hjordis Petterson, Ake Ohberg and Tore Lindwall. Gideon Wahlberg in 1939 directed Ann Mari Udderberg and Naemi Briese in the film We from the Theater (Vi som gar scenevagen). Gosta Rodin during 1939 directed the film Charmers at Sea (Sjocharmorer) produced by Fribergs Filmbyra and photographed by Albert Rudling. The film stars Aino Taube, Karin Swanstrom, Marianne Lofgren and Ullastina Rettig. Both Sigurd Wallen and Olaf Molander appeared in front of the camera with Britt-Lis Edgren in the 1940 film A Big Hug (Stora Famnen), Britt-Lis the daughter of the director of the film, Gustaf Edgren. The film was photographed by Julius Jaenzon and also stars the Swedish actresses Gerda Lundqvist and Signe Hasso. On the marquee that year, along with the name Aino Taube, was the film Everybody at His Station (Alle man pa post) written by Torsten Lundqvist and directed by Anders Henrikson, the assistant director to the film Ragnar Fisk. That year, Alf Sj?berg wrote and directed the first film in which the actresses Barbro Flodquist and Hedvig Lindby were to appear, and Blossom Time (Den blomstertid), photographed by Harald Berglund with Goran Strindberg as assistant cameraman and starring Sture Lagerwall, Gerd Hagman, Carl Barklind and Arnold Sj?strand. Barbro Flodquist also that year appeIn ared in the film Hanna i societen, directed by Gunnar Olsson and starring Elsa Carlsson and Carl Barklind. Schamyl Bauman in 1940 directed the films Heroes in Yellow in Blue (Hjaltar i gult och blatt), starring Tollie Zellmann, Barbro Kollber and Emy Hagman, and An Able Man (Karl for sin hatt), starring Birigit Tengroth, Vera Valdo and Gull Natrop starring Ake Ohberg directed his first film in 1940, Romance (Romans) in which Fritiof Billqvist appeared. Introduced to the screen that year by Ragnar Arvedson, Eva Henning premiered in the film Gentleman att hyra, photographed by Martin Bodin. Sigge Furst and Mimi Pollack also appear in the film. June Night (Juninatten) was directed in 1940 by Per Lindberg. After directing June Night, the following year Per Lindgren directed the the film The Talk of the Town (Det sags pa stan, 1941), photographed by Ake Dalqvist and starring Marianne Lofgren, Gudron Brost, Elsa Marianne von Rosen, Mona Martenson, Elsa Widborg and Bojan Westin, in what was to be her first appearance on the screen. Bojan Westin has recently appeared in several films, including Brevbaravens hemlighet (2006, Hanna Andersson), Koffein (2007, Akesson, Olsson) and Dorotea i dodsriket (2007, Kati Mets). The assistant director to the film Talk of the Town was Arne Mattsson. Produced by Svea Film, Stockholm, it was one of the first two films in which Eva Dahlbeck was to appear, the other being Only a Woman (Bara en kvinna), directed by Anders Henrikson for Wivefilm, Stockholm and photographed by Elner Akesson. Also starring in the film is Karin Ekelund. Anders Henrikson also that year directed Anio Taube in Life Goes On (Livet gar vidare), which he cowrote with Begnt Idestam-Almquist. The film also stars Hasse Ekman. Director Gunnar Skoglund that year teamed Karin Ekelund and Edvin Adolphson in the film Woman on Board (En Kvinna Omboard), photographed by Hilding Bladh and also starring Sigge Furst. Ragnar Arvedson in 1941 directed the films Sa tukta en akta man, the assistant director to the film Arne Mattsson. Ung dam med tur, photographed by Harald Berglund and written by Torsten Floden, was also directed by Ragnar Arvedson in 1941, it starring Sonja Wigert, Elly Christiansson, Stina Hedberg and Ake Ohberg. That year G?sta Cederlund directed his first film, Fransson den forskracklinge with Hilda Borgstr?m, Rune Carlsten, Elof Ahrle, Sonja Wigert and Marianne Lofgren as well as the film Uppat igen starring Elof Ahrle, Vera Valdor and Berit Rosengren. In 1941, Gunnar Olsson directed Mai Zetterling in her first film, Lasse-Maja, photographed by Harald Bergland and written by Torsten Floden, in which Zetterling starred with Margit Manstad and Sture Lagerwall. She next appeared in Sunshine Follows Rain/Rain Follows the Dew (Driver dag faller regn, 1946), directed by Gustaf Edgren and based on a novel by Margit Soderholm. Alf Sj?berg in 1941 directed the film Home from Babylon (Hem fran Babylon) starring Gerd Hagman and Arnold Sjostrand. Gustaf Molander in 1941 directed Tonight or Never (I natt-eller aldrig) with Tollie Zellman Produced by Svea Film in 1941, Cosy Barracks (Hemtreunad i kasern) was directed by Gosta Rodin and photographed by Erik Bergstrand. The film stars Tollie Zellman, Anna-lisa Baude, Annalisa Ericson and Rut Holm. Anders Henrikson in 1942 both directed and starred with Sonja Wigert in both Youth in Chains (Ungdom i bojor) and Fallet Ingegerd Bremssen, which, starring Ivar Kage and G?sta Cederlund, was the first film in which Siv Thulin had been given a small role. Anders Henrikson also starred with Sonja Wigert inBlod och eld (1945), the assistant director to the latter Bengt Palm. Gunnar Skoglund in 1942 directed Maj-Britt Nilsson in the film Varat gang. Gunnar Fischer worked as an assistant camerman in 1942 under Swedish cinematographer Ake Dahlqvist on a film edited by Oscar Rosander, Jacob's Ladder (Jacobs Stege), directed by Gustaf Molander and starring Birgit Tengroth, Marianne Lofgren and Viran Rydkvist. Gustaf Molander also that year directed Doctor Glas (Doktor Glas, 1942), adapted from a novel by Hjamar Soderberg by Rune Carlsten and directed by Gustaf Edgren, was to include the actresses Hilda Borgstr?m and Irma Christenson, it also having been the first film in which Victor Sj?str?m's daughter, Guje Lagerwall, was to appear. Hugo Bolander directed his first two films in 1942, Three Glad Fools (Tre glada tokar), and Sextuplets (Sexlingar). Bolander had been the assistant director to the film Steel (Stal, 1940), directed by Per Lindberg, a film that had starred not only Alf Kjellin and Gudron Brost, but Signe Hasso, Karin Swanstrom and Torre Svennberg. The following year, Erik Hampe Faustman directed his first film , Night in the Harbor (Natt i hamn, 1943) and scripted the film, its cinematographer having had been being Gunnar Fischer. Eric Hampe Faustman also directed the film Sonja that year, which he co-scripted with G?sta Stevens, it having starred Birgit Tengroth, Else Albiin, Gunn Wallgren and Sture Lagerwall. Sonja was photographed by cinematographer Hilding Bladh. Hampe Faustman that year appeared as an actor in Gustaf Molander's film Alsking, self give me (Alsking jag ger mig), which was also written by Gösta Stevens. Starring with Faustman in the film were Sonja Wigert, Elsa Carlsson, Marianne Lofgren and Carin Swensson. Haustman followed in 1944 by directing the film The Girl and Devil (Flickan och Djavulen), starring Hilda Borgstr?m and Torgny Anderberg. In 1943, Olof Molander directed Mimi Nelson in her first film, I Slew (Jag drapte), also starring Mai Zetterling, Anders Henrikson, Hilda Borgstr?m and Irma Christenson. That year G?sta Cederlund directed her in the film Kungsgatan, which also starred Barbro Kollberg. Ragnar Frisk in 1943 directed For lack of evidence (I brist pa brevis), scripted by Per Holmgren and Arne Mattsson and starring Birgit Tengroth and Holger Lowenadler. Frisk also that year directed Nils Poppe in the film The Actor (Aktoren), photographed by Hilmer Ekdahl and co-starring Sigge Furst and Agda Helin. Begnt Janzon in 1943 wrote and directed the film We Met the Storm (Vi Motte Stormen), with Stig Jarrel and Anna-Lisa Baude, for AB Nordisk-Filmproduktion. Ivar Johansson that year wrote and directed the film Young Blood (Ungt Blod), with Toivo Pawlo and Olof Widgren. Johansson also that year directed Ake Gronberg in the film Captured by a Voice (Fangad av en rost) photographed by Ernst Westerberg and produced by Film AB Lux. Sigge Furst that year also starred in the film Ghosts, Ghosts (Det Spokar, Det Spokar) directed by Hugo Bolander and produced by Film AB Image. Eva Henning that year appeared in the film The Awakening of Youth (Nar Ungdomen vaknar), directed by Gunnar Olsson. Cinematographer Sven Nykvist photographed his first film, along with photographer Olle Nordemar, in 1943, In the darkest Corner of Smaland (I morkaste Smaland), under the direction of Schamyl Bauman, the film starring Sigurd Wallen, Eivor Landstrom, Eric Petschler and Gull Natrop. Silent film director Eric Petschler also appears in the film. Gunnar Skoglund in 1943 directed the film En var i vapen starring Ingrid Borthen, Eric Hampe Faustman, Rita Sandstorm, Fritiof Billquist and Birgit Lindkvist in what was to be her first film appearance. Ragnar Arvedson in 1943 brought Irma Christenson and Ann-Margret Bjorlin to the screen in the film Herre med Portfolj. In 1944, Gunnar Ollsson directed The Turn of the Century (Nar seklet var ungt) his following it in 1945 with The Happy Tailor (Den Glade skraddaren), both films being among those in which Fritiof Billquist had appeared. The Turn of the Century (Nar seklet var ungt) had been the first film in which Brita Billsten had been given a small role, her having had appeared in it with Stina Hedberg, Marianne Gyllenhamar and Mim Eklund. En dotter fodd, the first film in which Ruth Kasdan was cast, was directed in 1944 by Gosta Cederlund and starred Barbro Kollberg. Ake Ohberg in 1944 directed Swedish Film actress Karin Ekelund in the film Snowstorm (Snostromen), photographed by Harald Berglund. Also appearing in the film are Liane Linden and Helga Brofeldt. Ivar Johansson that year directed Birgit Tengroth in the film Skogen ar var arvedel, the assistant director to the film Arne Mattsson. Weyeler Hildebrand in 1944 directed Sonja Wigert, Mona Martenson and Gunnar Bj?strand in the film My People are Not Yours (Mitt folk ar icke ditt). Ragnar Falck, who appeared as an actor in several Swedish Films during 1930-1960, directed his first two films, Fia Jansson from the South Side (Fia Jansson fran Soder), for Kungsfilm, and Your Relatives Are Best (Slakten ar blast), for Wive Film, that year. Fredrick Anderson in 1944 brought Ingid Bouthen, Annelie Thureson and Eivor Rolke to the screen in the film Karleck och allsang. Rune Carlsten that year wrote and directed the film Count only the Happy Moments (Rakna de Lyckliga Stunderna Blott), with Sonja Wigert, Arnold Sj?strand and Eva Dahlbeck. Gunnar Skoglund in 1944 brought Vibeke Falk and Monicka Tropp to the screen in the film The Clock of Ronneberga (Klockan pa Ronneberga). Filmed in Sweden and directed by Carl Th. Dreyer, Two People (Tva Manniskor, 1944) was not released in Denmark due to low box office returns and a second Swedish film to be directed by Dreyer was cancelled. Dreyer reportedly had wanted Anders Ek and Gunn Walgren to portray the couple upon which the on screen action of the film is centered, his describing the female character of the film as being "young warmblooded and sensual". When filmed the couple was portrayed quite differently by Wanda Rothgart and George Rydeberg. Sailors (Blajackor 1945), directed by Rolf Husberg with Annalisa Ericson, was photographed by Gunnar Fischer. Rolf Husberg directed Siv Hansson and Ann Sophie Honeth that year in the film The Children from Frostmo Mountain (Barnen fran Frostrnofjallent), photographed by Sven Nykvist. Molander in 1946 directed It's my Model(Det ar min modell),starring Alf Kjellin and Maj-Britt Nilsson, both films photographed by Ake Dalqvist. The screenwriter of It's My Model was Rune Lindström. Rune Lindstrom that year wrote and directed the film Aunt Green, Aunt Brown and Aunt Lilac (Tant Grun, Tant Brun, och Tant Gredelin), starring Britta Brunius, Elsa Ebbensen-Thorblad, Irma Christenson and Sigge Furst. Cinematographer Max Wilen photographed his first film that year, Det var en gang, directed by Arne Bornebusch with Mona Martenson. Ake Ohberg in 1945 brought Barbro Kollberg to the screen in the film Girls in the Harbor (Flickor i hamn) and Eva Henning to the screen in Rosen pa Tistelon, G?sta Folke the asistant director to the latter film. Bjorge Larsson in 1945 directed Annalissa Ericson, G?sta Cederlund and Sture Lagerwall in the film A Charming Miss (En fortjussande Froken) and the film The Thirteen Chairs (13 stolar), photographed by Sven Nykvist. Adapted from the novel published by Vilhelm Moberg in 1933, Mans Kvinna, starring Edvin Adolphson, Birgit Tengroth and Gudron Brost was that year directed by Gunnar Skoglund; coscripted by Vilhelm Moberg, Ankeman Jarl, starring Ingrid Backlin and Maritta Marke was that year directed by Sigurd Wallen. The assistant director to the latter was Lennart Wallen. That year was also to mark the appearance of a new director of Swedish film, Ingmar Bergman, his writing his own screenplay to the film A Young Girl's Troubles (Kris) as an adaptation of the play A Mother's Heart (Moderdyret), penned by Leck Fischer. The cinematographer to the film, which starred Inga Landgre as its central character, was Gösta Roosling and its editor was Oscar Rosander. It was during 1942 that Ingmar Bergman had begun adapting screenplays for Svensk Filmindustri. As noted by Donner, the first had been a screen version of the novel Katinka, written by Astrid Varing; noted by Peter Cowie the first had been a novel entitled Scared to Live. In his autobiography, Images, Ingmar Bergman writes without noting the author of the novel, and explains that after he was given an office,the script department was under Stina Bergman, to whom, it almost completely belonged, seemingly.

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OLD ENTRY, 48 years old in the photo, approximate whereabouts the Jason Bonham Experience concert. ------------ I'm not sure how long its going to take- but at my weight, I have to relift.

I got what I wanted-Bruce Lee. But I need more of a build. Scott Lord Silent Film Scott Lord