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Notes 141
From Scientist to Clown – He Who Gets Slapped
1. Sverker R. Ek, Marianne Ek, Hjalmar Bergman, Korrespondenser 1900-1930, http://
www.hjalmarbergman.se, Letters 533, 551, 553; Victor Sjöström, Letter to Hjalmar
Bergman, April 23,1924, Victor Sjöström’s Archives, vol 21, Swedish Film Institute
Archive.
2. Forslund, 215.
3. Frances Marion, in a quotation from Irving Thalberg concerning The Wind: “You’ll
have to make a few changes in the story to build up Lars Hanson’s part. You and
Victor Seastrom can work out that together.” Marion, 159.
4. Lunde, 50.
5. Albert P. Lewis, He Who Gets Slapped, Script Outline, September 30, 1922, 1.
6. Forslund, 215-216.
7. Victor Sjöström, “Oskrivna memoarer”, Dagens Nyheter, May 14, 1933.
8. Motion Pictures News Booking Guide, vol VIII, 1925, front page advertisement.
9. Sven Stolpe, ”Han som får örfilarna”, Filmjournalen 7, 23-24, 1925, 394.
10. “He Who Gets Slapped”, Photoplay, January 1925; Mordaunt Hall, “The Clown’s
Revenge”, The New York Times, 10 November 1924.
11. “He Who Gets Slapped”, Exceptional Photoplays 5, 5, October-November 1924.
12. “Name the Man! By Peter Andrews (Told in short-story form, by permission, from
the Goldwyn production of the scenario by Paul Bern, adapted from the Hall Caine
novel, ‘The Master of Man’. Directed by Victor Seastrom” (including six film stills),
Motion Picture Magazine, January 1924, 43-47, 89; “He Who Gets Slapped, By Saxon
Cone”, Motion Picture Magazine, January 1925, 35-36, 78. (Formerly Motion Picture
Story Magazine, from its first issue in 1911; the title was changed in March 1914.)
13. Forslund, 217 f; Lunde, 50.
14. Lewis, 1.
15. Ibid.
16. Leonid Andreyev, He Who Gets Slapped, trans. by Gregory Zilboorg, New York: The
Dial Publishing Company, 1922, 99.
17. Forslund, 218.
18. Andreyev, 188.
19. Ibid., 193.
20. He Who Gets Slapped, Cutting Continuity of Silent Picture, September 30, 1924,
Reel 7, Scene 1083.
21. Petrie, 139, who also talks about “Hate, Life, Love”.
22. Forslund, 219.
23. Andreyev, 82, 130, 131.
24. David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood
Cinema: Film Style & Mode of Production to 1960, London, Routledge & Kegan Paul,
1985, 188.
25. Thompson distinguishes between dialogue titles and literary titles, claiming that the
latter serve mere decorative purposes. However, even though these titles could be
called “literary”, their function is not “decorative” but essential to the understanding
of the plot. Ibid., 187.
26. He Who Gets Slapped, Cutting Continuity of Silent Picture, September 30, 1924,
Reel 1, Scene 6.