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52. The Masks of the Devil, Scenario by Frances Marion, Scene 14, Bengt Forslund’s
archive concerning Victor Sjöström, Swedish Film Institute Archive.
53. The Masks of the Devil, Cutting Continuity Script, Reel 1, Scene 85.
54. Forslund, 262.
55. Bruno, 5.
56. Ibid., 149.
57. Ibid., 150.
The Shadow of the Silents – ALady to Love
Notes 147
1. See Introduction, note 1.
2. Forslund, 267. He probably bases his assumption on the fact that Edward G.
Robinson in his autobiography All My Yesterdays talks about the film in all but
positive terms: “I was ready, of course, to read the play and rehearse. But there was
no reading and no rehearsal. We plunged into the middle of the film, and it did not
take long to realize that Miss Banky was seriously out of her depth. My heart went
out to her, and I tried to help. Mr. Seastrom didn’t seem to try at all. He was as
frightened as Miss Banky.” Edward G. Robinson, All My Yesterdays, New York:
Signet, 1975, 104.
3. The New York Times, March 1, 1930; The Telegraph, March 2, 1930.
4. Ibid.
5. Donald Crafton, The Talkies: American Cinema’s Transition to Sound, 1926-1931,
History of the American Cinema, Volume 4, Berkeley: University of California Press,
1997, 425, 436 f.
6. Ibid., 427.
7. United Artists, 1929; see ibid., 462.
8. Ibid.
9. Anna Sofia Rossholm, Reproducing Languages, Translating Bodies: Approaches to
Speech, Translation and Cultural Identity in Early European Sound Film, Stockholm:
AUS, 2006, 52.
10. Ibid., 51.
11. Miriam Hansen, “Universal Language and Democratic Culture: Myths of Origin in
Early American Cinema”, in Dieter Meindl and Friedrich W. Horlacher, eds, Mythos
und Aufklärung in der Amerikanischen Literatur/Myth and Enlightenment in the
American Literature, Erlangen: Universitätsbund Erlangen-Nürnberg e. V., 1985,
321-351.
12. “Victor Sjöström åter i Stockholm”, October/November 1928, Bengt Forslund’s
archive concerning Victor Sjöström, The Swedish Film Institute Archive.
13. Crafton, 326 f.
14. Ibid., 169.
15. Koszarski, 253.
16. Crafton, 169.
17. Ibid.
18. Forslund, 268.
19. A Lady to Love, Dialogue Cutting Continuity Script, Reel 1, Scene 21.
20. Ibid., Reel 6, Scenes 4-6.