A short burlesque that is lost today.
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Unknown Role
19th release in 'The Smith Family' series of 2-reel comedies.
Terrorized by Guido, her drunken and brutal father, Marie receives assurance from her dying mother that the Madonna will always protect her. The father reels in just after the mother has expired, too drunk to realize the woman is dead, and finding the whiskey bottle empty, abuses the child. Marie appeals to the image of the Madonna and Guido, in a frenzy of rage, smashes it on the floor. Horrified at the sacrilege, Marie screams.
Big Elk and Che-wee-na, both of the Great Bear tribe, are engaged to be married. White Wolf, the son of the chief of another tribe, offers to buy Che-wee-na; when her father refuses, Little Wolf challenges Big Elk to a physical contest that Big Elk wins. Embittered, Little Wolf provokes a war between the tribes, abducting Che-wee-na while Big Elk and the other Great Bear warriors are away from their camp. Che-wee-na feigns insanity among Little Wolf's people, who think that she is in communication with the great spirits. She wins the gratitude of the tribe when she nurses a sick child to health, but in so doing incurs the jealousy of the tribe's medicine man, who accuses her of poisoning the tribe's water supply.
The daughter of man who owns a South Seas pearl business falls in love with a wealthy traveler. Her father dies, leaving her the business. A greedy ship captain schemes to take the business from her.
In 1908, Director/Producer Shozo Makino (father of Japanese cinema) directed and produced the first dramatic film in Kyoto. “Honnô-ji Gassen” was shot at Shinnyo-Do Temple. Considered a lost film.
Romance of a Boot and a Dancing Slipper
A troubled woman living in an isolated community finds herself pulled between the control of her oppressive family and the allure of a secretive outsider suspected of a series of brutal murders.
First ever Bangladeshi feature film. The film about a conflict between two family members.
An adventure film with Benshi performers. Sometimes considered the 'first Japanese feature film', it survives today as a compilation of scenes from various different 1910s adaptations totaling nearly three hours in length. The bulk of the content comes from the 1911 adaptation by legendary Japanese filmmaker Makino Shozo.
Daughters of Today was a 1928 silent film from Lahore, in present-day Pakistan (then British India). It was produced by G.K Mehta and directed by Shankradev Arya. This was the first feature film made in Lahore, and helped to establish the city of Lahore as one of the centers of filming in India. The Lahore film industry is now known as Lollywood. Production started in 1924 and took three years to complete, mainly due to financial problems. Two participants later became prominent personalities of the South Asian film industry: A.R. Kardar was one of the most famous Bombay film directors in the 1930s, 1940s and 1950s; and actor M. Ismael's film career spanned over five decades.
At Thanksgiving, a tramp arrives in a homeless-hostile town.
An army pilot is visiting the home of another army pilot in a neighboring country, and falling in love with his sister, when war breaks out.
An expelled horse owner clears his name and wins the Grand National.
It was the first film version of the Hunchback of Notre Dame.
At a dinner party, a hostess serves her guests a dish made using meat from a bull. While most of them enjoy the meal, one man has a strange reaction: Taking a set of horns off the wall, he attaches them to his head and sets off on a rampage. After destroying the house and terrifying his hostess, her guests, maid, and neighbours, he takes to the streets. The police sends a telegraph to Spain asking for help, and in response a parade of matadors arrive in Paris, ready to slay the crazy beast-man. However, soon after the man-bull fight begins, the errant guest comes to his senses and is taken into custody by waiting policemen.
The scene of the drama is a block of modern flats. Many of the residents are away at a dance, and the janitor and his staff decide upon a jollification of their own. They invite their friends to a fine high tea. Everybody is having a fine time, and their spirits are running high. We are now taken to the outside of the hall door, and watch with amusement the frantic pounding and bell ringing of the residents returning from their evening engagements and seeking admission to their apartments. The gay gathering inside are too busy with their own pleasure to heed the angry crowd outdoors. A policeman is called, but all to no purpose, and the tenants are all taken to the station for quarters for the night. Returning to the janitor's quarters we see that the jollifications have been concluded and the guests are all departing. The superior officer at the station concludes to make another effort to gain admittance in the building and, with the tenants at his heels, he approaches the flats.
As a practical joke, an actor impersonates the screen monster he made famous. A lost film.
Two smugglers meet two customs officers at sea, and happen to kill them. The story continues fifteen years later when a son of one of the officers and a smuggler's daughter fall in love with each other.
A series of family entanglements develop around the changing will of Roger Bernhuses de Sars (Karl Mantzius), who wants his heritage to go to his illegitimate daughter Blenda (Greta Almroth). But love and fate also plays their cards. One of the most surprising films of Sjöström, close to Stroheim and some of the silent comedies of Lubitsch. Belonging to the golden age of Swedish film, this comedy offers one of the earliest explorations of the relationship between masters and servants on the screen, later developed by French masters like Renoir and Guitry. After acting in the diptych of Thomas Graal, Sjöström shows that he also dominates the “light genre” as director.
