AMG wrote:
In this drama, an impoverished Irishman decides to turn an IRA colleague into the cops to receive a desperately needed reward that will allow him to escape to America with his mistress. Unfortunately his plans go awry and the young man is filled with guilt by his friends who once held his high ideals. ~ Sandra Brennan, All Movie Guide

	
The.Informer.1929.Silent.BDRip.x264-KG.mkv

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Container:  	Matroska
Runtime: 	1 h 39 min
Size: 	1.96 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	2 359 kb/s
BPP: 	0.222
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#1:  	2.0ch AC-3 @ 448 kb/s

https://nitro.download/view/4C290592DA7B2AF/The.Informer.1929.Silent.BDRip.x264-KG.mkv

https://rapidgator.net/file/8efe4aff7e60235d11990bbb61a10df6/The.Informer.1929.Silent.BDRip.x264-KG.mkv

Language(s):Silent
Subtitles:English Intertitles

The post Arthur Robison – The Informer [Silent] (1929) first appeared on Cinema of the World.

During excavations made in Stockholm in the year 2248, archaeologists find 45,000 meters of film reels from the 1940s, which turn out to be feature films by master director Hasse Ekman. The material is in total disarray, but the Association of Ancient Film Research compiles the reels according to what they believe to have been the master’s artistic intent.

The story is compiled from eight of Hasse Ekman’s 40’s movies – one of the first (the first?) films to consist exlusively of samples from a director’s prior work. Ekman chose this solution as a response to the strike among Swedish actors at the time. The only original take is the one in color in the start with the “professor” and hottie Eva Henning (Ekman’s wife at the time) as his assistant.
Supposedly, several of the actors were furious about their scenes being exploited this way. The montage even links scenes that suggest gay romance between straight characters.

General
Container:  	Matroska
Runtime: 	1h 14mn
Size: 	641 MiB
Video
Codec: 	x264
Resolution: 	608x464 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	1 100 Kbps
BPP: 	0.156
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#1:  	1.0ch MP3

https://nitro.download/view/B7533E1436A5B0E/Daarskapens_hus.mkv
https://nitro.download/view/DA69B6416A18EC4/Daarskapens_Hus.srt

Language(s):Swedish
Subtitles:English

The post Hasse Ekman – Dårskapens hus AKA House of Folly (1951) first appeared on Cinema of the World.

Quote:
Gustaf Molander was the one who primarily would be asked to continue Sjöström’s and Stiller’s work. He was also the film company’s chief negotiator with Lagerlöf, and someone she did not like. “Molander has just left. He is a remarkably dead and uninteresting character, although he is such a fine person. The matter concerned that which you had just told me about, to ask whether I had any good ideas in stock, which I could pass on to them […] He was not very informed about my novels, I must say […].

Swedish Film: An Introduction And Reader (2014)

Till Österland (Gustaf Molander, 1926).mkv

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Container:  	Matroska
Runtime: 	29 min 27 s
Size: 	160 MiB
Video
Codec: 	x264
Resolution: 	352x262 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	630 kb/s
BPP: 	0.273
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https://nitro.download/view/29710244D8E7768/Till_Österland_(Gustaf_Molander,_1926).srt
https://nitro.download/view/76C1C5A317E3D9E/Till_Osterland_(Gustaf_Molander,_1926).mkv

Language(s):None
Subtitles:English, Swedish intertitles

The post Gustaf Molander – Till Österland AKA To the Orient (1926) first appeared on Cinema of the World.

Childhood friends are torn apart when one of them marries the woman the other once fiercely loved.

Flesh.and.the.Devil.1926.720p.WEB-DL.AAC2.0.H.264-SbR.mkv

General
Container:  	Matroska
Runtime: 	1h 52mn
Size: 	3.28 GiB
Video
Codec: 	h264
Resolution: 	982x720 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	
BPP: 	
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https://nitro.download/view/EFD1794155A8F5A/Flesh.and.the.Devil.1926.720p.WEB-DL.AAC2.0.H.264-SbR.mkv

Language(s):Silent
Subtitles:None

The post Clarence Brown – Flesh and the Devil (1926) first appeared on Cinema of the World.

Letty moves to West Texas from the East and it seems that the wind always blows and the sand gets everywhere. While living with relatives, she finds that she is not welcomed by the wife. With no where to go, she marries a man who disgusts her. Her new home is a small shack with the wind and the sand constant companions. When it is necessary for most of the men to go out into the sand storm, one stays back to have his way with Letty and that costs both of them.

The.Wind.1928.DVDRIP.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 18 min
Size: 	1.20 GiB
Video
Codec: 	x264
Resolution: 	704x576 ~> 768x576
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	2 000 kb/s
BPP: 	0.206
Audio
#1:  	zxx 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/48901F24B461578/The.Wind.1928.DVDRIP.x264.AC3.KJNU.mkv

https://fikper.com/mNarvDzaej/The.Wind.1928.DVDRIP.x264.AC3.KJNU.mkv

Language(s):English Intertitles
Subtitles:None

The post Victor Sjöström – The Wind (1928) first appeared on Cinema of the World.

The musician Wolo is in love with the beautiful peasant girl Anjuta. She is forced, by her stepmother who runs a speakeasy, to dance for the drunken guests of the tavern. Restored by The Swedish Film Institute in 2016.

Quote:
A first preservation of Mauritz Stiller’s Balettprimadonnan was carried out in 1994, from a fragment of a tinted and toned nitrate print with Spanish intertitles found in Zaragoza, Spain. In 2015, the Filmoteca Espanola in Madrid identified a second fragment with Spanish intertitles of the film in its collections, originating from the same nitrate print, meaning that approximately half of the film has survived.

One of several early films by Stiller which has resurfaced in recent years, Balettprimadonnan depicts the story of a farmer’s daughter in love with a violinist of poor origins who convinces her family that she should audition for the ballet academy. Making her film debut playing the girl is Jenny Hasselquist, who at the time was actually engaged as a prima ballerina at the Royal Opera in Stockholm. Her main career would continue to be dance; she made only a handful more appearances in film (including Sjöström’s 1922 Vem dömer? (Love’s Crucible), screened at the 2017 Giornate). The violinist is played by Lars Hanson, also then a relative newcomer to the screen.

The Swedish Film Institute was granted access to the second fragment found in Madrid in order to make a new restoration. This was presented in 2016 at the Cinema Ritrovato festival in Bologna as a work-in-progress; the 1990s restoration was screened alongside samples of raw scans of the second fragment and examples of how the intertitles were going to be recreated, emulating the design and font of the original (which had not been done in the 1990s version). The restoration was completed later in 2016 and first presented at the Swedish Film Institute in Stockholm in October that year. This screening at Pordenone marks the first time the new restoration has been shown at any international festival.

The current version includes all the footage found in Zaragoza and Madrid, and all of the film’s intertitles. Copyright frames originating from the Library of Congress in Washington, DC, and stills from the collections of the Swedish Film Institute have been used to cover the missing footage, as well as a limited number of explanatory titles, with a neutral font and design to make them easily discernible from the re-created intertitles of the original. The colours have been re-created using the colours of the nitrate fragments as reference.
The second fragment found in Madrid also contained footage from the second reel of the film, including scenes where we get to see actress Jenny Hasselquist perform a ballet at the Royal Opera in Stockholm. This ballet sequence was toned, and had suffered severe decomposition due to chemical decomposition.

Jon Wengström

470MB | 36m 07s | 968×720 | mkv

https://nitro.download/view/A330C641ECA0692/Balettprimadonnan_(Mauritz_Stiller,_1916).mkv
https://nitro.download/view/8594578DB8587B8/Balettprimadonnan_(Mauritz_Stiller,_1916)_-_eng_02.srt

Language(s):Swedish intertitles
Subtitles:English

The post Mauritz Stiller – Balettprimadonnan AKA Anjala the Dancer (1916) first appeared on Cinema of the World.

In Puritan Boston, seamstress Hester Prynne is punished for playing on the Sabbath day; but kindly minister Arthur Dimmesdale takes pity on her. The two fall in love, but their relationship cannot be: Hester is already married to Roger Prynne, a physician who has been missing seven years. Dimmesdale has to go away to England; when he returns, he finds Hester pregnant with their child, and the focus of the town’s censure. In a humiliating public ceremony, she is forced to don the scarlet letter A – for adultery – and wear it the rest of her life. Dimmesdale is encouraged by the church fathers to demand of Hester the person with whom she sinned.

Review by softbulletin:
Only Lillian Gish could have gotten The Scarlet Letter (1926) past the censors of the late ’20s and only she could have made it such an authentic American classic. Ironically, she did it with the help of two Swedes, director Victor Sjöström and leading man Lars Hanson. As she would say in her memoirs, however, “I have always believed that the Scandinavians are closer in feeling to New England Puritans than are present-day Americans.”

Gish had long wanted to star in a film version of Hawthorne’s classic novel, but when she suggested it to MGM studio head Louis B. Mayer as a follow-up to her popular La Boheme (1926), he warned her that it was currently on the list of books banned for film adaptation. To get past the ban, Gish personally wrote to Will Hayes, the studios’ moral watchdog, and heads of women’s and church groups around the country, assuring them that she would guarantee the film was made in good taste. As a result, the ban was lifted. In fact, the film was produced with the cooperation of the Federal Council of Churches of Christ.

Having Sjöström direct was Gish’s idea. She had been impressed with his work for some time, and he was currently working at MGM on a special loan-out from Svensk Filmindustri. The Swedish studio, where he made his first impact as a director, allowed him to work at MGM in return for the right to distribute their films in Sweden. Gish felt that he had a major impact on her work, introducing her to the Swedish style of acting, which involved repression of emotions so that they only briefly rose to the surface.

For the leading role of the Reverend Dimmesdale, Hester’s secret lover, studio production chief Irving G. Thalberg recommended Lars Hanson, another Swede who had scored a hit in the film that introduced Greta Garbo to U.S. audiences, The Saga of Gosta Berling (1924). Although he spoke no English, Hanson had no trouble communicating with his fellow Swede Sjöström.

Rounding out the company were Henry B. Walthall as Hester’s long lost husband, whose return triggers a crisis for his wife and her lover, and cinematographer Hendrik Sartov. Both had worked with Gish at the start of her career when she was director D.W. Griffith’s biggest star. Walthall was best known as “The Little Colonel” in Griffith’s The Birth of a Nation (1915). From there, he had become a respected character actor. Dutch-born Sartov had trained under Griffith, for whom he filmed Gish in such great pictures as Hearts of the World (1918), Way Down East (1920) and Orphans of the Storm (1921).

For the picture, an entire colonial village was constructed on the MGM back lot, complete with cobbled streets and a dunking pond. Hanson’s direction breathed life into these settings, creating an authentic picture of 17th century America. Unlike the novel, which focused on the influence of Puritanism on early American life, Sjöström focused the film on Hester and Dimmesdale’s forbidden love, creating a subtle erotic tension between his stars. This was particularly strong when Hester lets down her hair and Dimmesdale steals a chance to touch it, one of the great love scenes in Hollywood history.

During the next-to-last week of filming, Gish learned that her mother had had a stroke in London and was not expected to live much longer. Her sister, Dorothy, urged her to get there on the first available boat. When she informed Seastrom of the need to finish the film quickly, he created a shooting schedule that crammed two weeks worth of shooting into three days of non-stop work. The crew worked without complaint so that she could finish the film early and catch the earliest possible train to New York. Whether it was good luck or her daughter’s presence, Gish’s mother actually improved and was able to return to the U.S. with her daughter.

Meanwhile, Sjöström finished the film, which so delighted Mayer and Thalberg that instead of the customary $5,000 bonus given to directors for completing a film on time, they gave him $10,000.The picture opened to rave reviews and strong business in New York, where it played at the Central Theatre for five months. It did not do as well in the rest of the country, however, and with the failure of the next Gish-Sjöström collaboration, The Wind (1928), her days as a film star were over. Over time, MGM reedited The Scarlet Letter, and for a while the original version was thought lost. When the Library of Congress restored the lost footage in recent years, fans could once again appreciate one of the greatest performances in film history. There would be three more adaptations of The Scarlet Letter in the U.S. — a low-budget ’30s version starring Colleen Moore, a PBS miniseries in 1979 starring Meg Foster and the ludicrous Demi Moore version of 1995 that tried to improve on Hawthorne with nude scenes and a happy ending — but none can match the original.

The.Scarlet.Letter.1926.TVRIP.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 37 min
Size: 	1.54 GiB
Video
Codec: 	x264
Resolution: 	704x476 ~> 704x528
Aspect ratio:  	4:3
Frame rate: 	21.876 fps
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https://nitro.download/view/B7ED54C9A90A368/The.Scarlet.Letter.1926.TVRIP.x264.AC3.KJNU.mkv

Language(s):English Intertitles
Subtitles:None

The post Victor Sjöström – The Scarlet Letter (1926) first appeared on Cinema of the World.