Archival Spaces

408: Bonn Silent Film Festival II

Archival Spaces 408:

Summfilmtage Bonn 2026

Uploaded 18 September 2026

*Shadows of the Big City* (1925, Willi Wolff) with Ellen Richter slumming it in Parisian Apache Bar.

The Bonn Silent Film Festival’s online streaming program continued after its opening film, The Saga of Gosta Berling (See Archival Spaces 407) with Kid Boots (1926, Frank Tuttle), starring Eddie Cantor and Clara Bow. The film was digitally restored in 2021 from a 1926 work print and a 4^th generation safety positive from 1966 by the Film Preservation Society and Paramount. Being Cantor’s first film, after he had starred in the Broadway stage play by the same name, the film is a trifle. Its fast-paced comedy translates to the screen with much physical slapstick, facilitated by Cantor’s talent for extreme body contortions. Cantor as Kid Boots is an inept tailor fleeing an irate customer, who meets and instantly falls in love with the customer’s girlfriend (Clara Bow), then hooks up with a wealthy acquaintance trying to make his divorce legal. It’s all quite silly, but Clara Bow is always worth the price of admission.

**Eddie Cantor** **contorted in *Kid Boots* (1926)**

**Lulu McGrath in *Wonders of the Sea* (1922)**

Wonders of the Sea (1922), directed by J. Ernest Williamson and photographed by his brother, George M. Williams, the team had, for the first time, shot moving-image footage deep below the ocean’s surface, using his specially constructed submarine, the “Photosphere,” in Thirty Leagues under the Sea (1914). The 4 K restoration by the Austrian Film Museum in 2026 is based on a 35mm nitrate print of the French release version, with additional material coming from a nitrate print sourced from the Eye Museum, Amsterdam. The editing and color scheme are based on prints from Brussels and the Cinémathèque Française, while the intertitles were translated from the French, with its typography based on a reel from the National Sound and Film Archive of Australia. In the one-hour documentary, we see a young woman swimming in coral reefs off Bermuda, and two divers explore shipwrecks and battle a dangerous Mora Eel, a giant octopus, and a shark. The m most interesting aspect of this documentary fiction is that the film visualizes its own means of production, the tube leading down to the submarine, the camera and operator at the bottom, pointing the camerainto the ocean beyond the glass.

*Schatten der Weltstadt* (1925, Willi Wolff) with Ellen Richter, **revealing her** **scars.**

*Bubis Locken* (1919, Hanna Hening) Photo: Deutsches Filminstitut & Filmmuseum

Schatten der Weltstadt/Shadows of the City (1925) was first restored in analog by the Bundesarchiv from an original nitrate negative in 2008, then digitized in 2016 in 2K, while the tinting scheme is based on an original nitrate print and tinting instructions on the negative. The film opens with a montage of urban scenes and a suicide, then cuts to a posh private reception where a newly minted police prefect pimps his own wife (Ellen Richter), then, ends up dead. Paris is a two-class society, rich and very poor. The wife, who has her own lover, is acquitted of murder, but everyone believes she is guilty, so she investigates and finds the killer herself. Ellen Richter, Germany’s action-adventure queen in the 1920s, plays a battered woman, all the men in her life physically and mentally abusing her. This film perfectly embodies German cinema’s sophisticated replication of American crime genre narratives, however, with a darkness never seen in Hollywood.

Bubis Locken (1919) is an unidentified short film in the “Bubi” series, directed by Hanna Henning, one of Germany’s first woman directors, a metteur en scene who focused on children to explore issues of gender. The film was digitized in 4K from a surviving 16mm print by the Deutsches Filminstitut & Filmarchiv, Frankfurt. It’s a sweet film about a sixth grader who gets his baby curls cut, since he is about to become a teenager, but has to learn that messing with the love life of his older brother has consequences.

*Die Grosse Sehnsuch* (1930, István Székely) with Paul Kemp as assistant to **the assistant.**

Die große Sehnsucht/The Great Yearning (1930, István Székely), opens in a motion picture studio, where a sound film musical is being shot. It stars Camila Horn as an ambitious extra, who lands a starring role, but sacrifices her boyfriend in the process. I had seen the sound version three years ago at Hamburg’s Cinefest, but Bonn screened the silent version, which was distributed in German cinemas not yet wired for sound. While the film visualizes the technical details of the new sound process, – the studio floor is always filled with people! – making the film self-reflexive a priori, the silent film seems even more self-aware, thanks to intertitles that tell us what we see, e.g., when Luis Trenker is seen in the studio cafeteria with Elga Brink and Hans Adelbert von Schlettow, he is told he will be in a scene of The Great Yearning; Harry Liedke is asked to do a walk-on as he is walking on. Later at a private studio party, Maria Paudler and a male colleague spoof Marlene Dietrich and Emil Jannings in The Blue Angel, a film that had only been released five months earlier. Both that film and Sehnsucht include songs by Frederick Hollander, who would work for Lubitsch in Hollywood, as would Paul Dessau, a composer close to Brecht. Die große Sehnsucht featured cameos from more than a dozen German film stars, including Lil Dagover, Anny Ondra, Olga Tschechowa, Charlotte Susa, Gustav Diesel, Karl Huszar-Puffy (Charles Puffy), Fritz Kortner, Franz Lederer, Fritz Rasp, and Conrad Veidt, of whom four went into exile. After 1933, director Steve Sekely returned briefly to his native Hungary, before landing in Hollywood, as would assistant director Laszlo Benedek, supervisor Curtis Bernhardt, and producer Joe Pasternak. Unlike American films with heterosexual romance reaffirmed, the “Happy End” here is the film’s wrap, with not a spot of sentimentality for the dumped boyfriend.

(To be continued)

**Die grosse Sehnsucht (1930, Steve Sekely). The fictional film crew. Photo: Filmmuseum Potsdam**

407: Bonn Silent Film Festival

Archival Spaces 407:

The Saga of Gösta Berling (1924, Maurice Stiller)

Uploaded 4 September 2026

This year’s Silent Film Festival in Bonn, Germany, was held between 13 and 22 August 2026. The open-air festival in Bonn included 14 features and six shorts. An abridged program was available for streaming here in Germany, but did not include the features: The Overcoat (1926, Kozintsev/Trauberg), National Customs (1935, China), Robinson on His Own (1929, Lazar Frenkel), as well as all the shorts, except the German, Bubi’s Haircut (1919). The streaming program opened with a new restoration of the two-part The Saga of Gösta Berling (1924), directed by Maurice Stiller, from Selma Lageröf’s novel.

*The Saga of Gösta Berling* with Lars Hanson

When The Saga of Gösta Berling was released in 1924, both parts had a combined length of 4,534 meters, or 221 minutes at 18 fps. I first saw a 35mm print at the George Eastman Museum in the 1970s; it being one of James Card’s prized possessions because it’s Greta Garbo’s first starring role. The American release version I saw had been cut down to a single feature of under two hours. In 1975, the Swedish Film Institute completed an analog restoration that ran 184 minutes, which is available on YouTube with English titles and was released by Kino International.

The digital version shown in Bonn is based on the analog reconstruction from 2018, with some new editing. The main source for the reconstruction was a duplicate positive from the Swedish Film Institute, made from the film’s original nitrate negatives. Several scenes were extended from an additional duplicate positive and negative, and a tinted nitrate print from the Cinemateca Portuguesa (Lisbon). Two b/w acetate prints held by Gosfilmofond (Moscow) were also utilized. Tinted nitrate prints from the Cinémathèque française (Paris) and the Deutsche Kinemathek (Berlin), were consulted for continuity.

**Mona Mårtenson as Ebba and Lars Hanson as Gösta** **Berling**

**Hansen with **Jenny Hasselquist** as Marianne Sinclaire**

The film’s intertitles have been recreated from an original text list submitted to the censorship authorities. Only three of the intertitles, originally designed by Alva Lundi, survived, so all 405 titles were recreated, using the design as an inspiration for the font. The original intertitles had drawings and illustrations, which couldn’t be recreated. The tinting colors were recreated from the Portuguese print. The intertitles’ toned color is based on a description in a contemporary trade paper.

**Hansen and Greta Garbo as Elizabeth Dohna**

**Gerda Lundequist as Mistress Margaretha Samzelius**

The present digital restoration, completed in 2024, runs 204 minutes, although some of the length may be due to the film being streamed at the correct speed, instead of at 24 fps of the Kino version. Comparing the two versions, the image quality of the new restoration is much clearer and cleaner, the result of digitizing the nitrate negatives. It is fully tinted in brilliant colors, rather than all b & w, the red from the burning of the mansion being particularly impressive. As was the custom in European silent cinema, titles marking the separate beginnings and ends of acts have been added, while all titles are held longer than in the English translations. Finally, the editing is much more complex with more close-ups and cross-cutting, as well as many more shots within reordered scenes. In some cases, new material has been added, e.g., when Berling remembers in a flashback reading to Elizabeth, the interpolation consists of numerous shots and not just the single image in the Kino version.

The plot of the two-part film is too involved to repeat here in full, but the story essentially related the fate of a defrocked Lutheran minister, played by Lars Hanson, who loses his pulpit because he is a drunk and insults his congregation. He leaves and, in the following, has relationships with three women: Tutor to Ebba Dohna, the stepdaughter of the mistress of Borg, Berling flees when Ebba, who is in love, hears he has been defrocked, and dies. Berling is taken in by Margaretha, the mistress of Ekeby Manor, making him one of her “Cavaliers.” There, Berling is kissed on stage by Marianne Sinclair during a pantomime skit, leading her father to disown her; finding her lying in the snow, Berling hides her in Ekeby, where she contracts smallpox, and rejects Berling’s marriage proposal. Meanwhile, Margarethe’s own past is exposed by a Cavalier, and her husband bans her. Margarethe later returns to Ekeby and burns it down; Berling rescues Marianne, then finds Elisabeth Dohna, who had in Italy illegally married her step-brother, Henrik, wandering over the frozen lake. After Ekeby has been rebuilt, Margarethe turns the keys over to Berling and Elizabeth who have married.

The many intrigues and reversals of fortune are indeed melodramatic, but the film’s epic scope is reinforced through sumptuous sets and costumes. Many scenes offer real spectacle, e.g., the burning of Ekeby and the sleigh ride across the ice, as wolves chase the couple. Greta Garbo, who plays Elizabeth, is luminous, – one immediately understands why G.W. Pabst brought her to Germany for The Joyless Street – as is Gerda Lundquist as Margarethe, the mistress of Ekeby. Framing the drama is Stiller’s harsh and beautiful Swedish winter landscape, a fitting metaphor for the cruelty of life in this masterpiece of world cinema.

*“Gösta* Berlings lies here.” Image courtesy Svenska Filminstitutet

406: Letty Lynton Restored

Archival Spaces 406:

Letty Lyndon (1932) screened at American Legion Hollywood

Uploaded 21 August 2026

**Robert Montgomery, Joan Crawford in *Letty Lynton* (1932, Clarence Brown)**

On 25 July 2026, the Art Deco Society of Los Angeles and Hollywood Heritage presented a matinee screening of Clarence Brown’s Letty Lynton (1932), a film starring Joan Crawford, Robert Montgomery, and Nils Asther, which had not been available for public performance for ninety years. Produced by Metro-Goldwyn-Mayer, when Crawford had reached A-list status, after her huge success in Grand Hotel (1932), next to Greta Garbo no less, Letty Lynton saw Crawford switching from hard-working-class social climbers to upper-crust women of privilege. The film was a monster success, but was eventually pulled from circulation by Loew’s Inc., due to a lawsuit brought by the authors of a successful 1930 Broadway play, “Dishonored Lady;” the playwrights claiming the film had violated their copyright.

The film opens on a disreputable street in Montevideo, where socialite Letty Lynton (Crawford) is dancing the night away with a slimy gigolo Emile Renaul (Asther), but apparently is ready to end the three-month affair. He refuses to accept her decision, so she hops on a steamer to New York with her maid, Miranda (Louise Closser Hale), meeting and falling in love on board with Jerry Darrow, a wealthy American heir; they become engaged. To her horror, Renaul is on the dock waiting to take her back to South America, and later turns up at her mother’s Park Ave address, attempting to blackmail her with her love letters and forcing her to meet him at his hotel that evening, even though she is to leave for Upstate to meet Darrow’s parents. Letty is eventually accused of murder, but the D.A. (Lewis Stone) cannot prosecute because Darrow, Letty’s mother, and the maid are ready to testify that Letty was with Darrow at the time of the murder.

MGM’s balance sheets noted that Letty Lynton pulled in $754,000 domestically (including Canada) and $418,000 in foreign markets, with estimated profits of $390,000 ($9,508,200 in 2026). The film was ostensibly based on a 1931 novel, Letty Lynton, by Marie Belloc Lowndes, which in turn fictionalized the historical case of Madeleine Hamilton Smith, a Scottish woman who in 1857 was accused of murdering her lover with arsenic, after he threatened to expose her love letters; she was acquitted of one count, the jury returning a second verdict of “not proven.”

However, authors Edward Sheldon and Margaret Ayer Barnes based their play “Dishonored Lady” on the same historical case. To make matters worse, MGM had attempted to acquire the play, but refused to pay the $30,000 price tag, purchasing Lowndes’ novel for a mere $3,000. Another problem was that the Hays Office refused to approve the play, given they considered the story to be about a “nymphomaniac.” In the subsequent lawsuit, the authors sued for copyright infringement and plagiarism. In July 1939, the Court ruled in favor of the plaintiffs, awarding them one-fifth of Letty Lynton’s profits. In 1947, Hedy Lamarr’s production company produced Dishonored Lady, which is credited to the Sheldon/Barnes play, but only resembles it very loosely.

**Lewis Stone, Crawford, May Robson, Montgomery in D.A.’s Office**

The underlying copyright did not expire until 2025, at which time Crawford’s grandson, Casey LaLonde, contacted Warner Brothers, stating it was legally safe to screen the film, and that the company which owns rights to all pre-1986 MGM films, only had a limited window to release the film, before Letty Lynton would itself fall into the public domain in 2027. As in the case of a number of other pre-Code Joan Crawford films, MGM had made 35mm preservation masters in the 1960s, which became the basis for Warner Brothers’ subsequent 4 K restoration, thanks to George Feltenstein, Warner-Discovery library historian, who advocated for the film. The new premiere took place earlier this year at the TCM Film Festival in Hollywood and was released on Blu-ray on 30 June; it has done so well that Warners released it on DVD on 14 July. The new version looks immaculate, highlighting the art deco sets and Crawford’s stark black and white outfits.

Before the screening at the American Legion, there was much discussion about costume designer Adrian’s dresses for Joan Crawford, in particular a white cotton organdy dress with puffy sleeves at the shoulder, which MGM had licensed to Macy’s, subsequently earning another fortune. However, the published story that the dress sold 50,000 copies appears to be apocryphal. Audience members who wore puffy-sleeved dresses to the screening were subsequently brought on stage for a photograph. The almost sold-out crowd seemingly enjoyed the pre-show and Joan Crawford in this pre-Code classic.

**Female audience members in puffy-sleeved dresses.**

While the film manages to make Lynton both guilty and not guilty of murder, thus satisfying possible objections from the Code Office, at least before the new Hays Office under Joseph Breen would most certainly have shut the film down, Crawford and the rest of the cast give very believable performances. It is also a very modern story, echoing today’s “Me Too” movement, especially when the villain beats up Letty for denying him sex and essentially keeping her in sexual bondage. Unfortunately, I also kept seeing Charlie Chan behind Asther’s villain.

405: Voskovec & Werich 2

Archival Spaces 405:

The World Belongs to Us (1937)

Uploaded 7 August 2026

**Bohuš Záhorský** as Drexler in *Svět patří nám* **(1937, Martin Frič)**

In my last blog, I discussed the films of the Czech comedy team, Jiří Voskovec & Jan Werich, available on a 4-disc-set, produced by the Czech National Film Archive, now apparently out of print. I wanted to spend more time discussing the last film, Svět patří nám /The World Belongs to Us (1937, Martin Frič), because it is one of the few overtly anti-Fascist (covertly anti-Nazi) films, produced in Europe or the United States before World War II. Indeed, before the German invasion of Poland in September 1939, only one anti-Nazi film had been produced in Europe, Borzy/Kämpfer (1935, Gustav von Wangenheim), produced by German exiles in the Soviet Union. That film portrays the struggle against Hitler’s Fascism, above all the resistance of the Communists, the Reichstag fire, the subsequent show trial of Georgi Dimitroff, and the establishment of concentration camps, bringing suffering and death. In America, an independently produced docudrama, Hitler’s Reign of Terror (1934, Michael Mindlin), had a very limited release before being banned by several State Censorship Boards.

***Borzy/Kämpfer*** **(1935, Gustav von Wangenheim)**

*Hitler’s Reign of Terror* (1934, Michael Mindlin)

The World is Ours was adapted from a Voskovec and Werich play, “Rub a líc” (The Flip Side), which had premiered at their Prague theatre, Osvobozený divadlo. only six months before the release of the film in August 1937. In 1939, after the invasion of Czechoslovakia in March, the Nazis had all the negatives and copies of the film burned. In 1947, the film was re-released in cinemas, recreated from an incomplete print and other fragments. However, even the 1937 release had been subject to censorship by the Czech Film Advisory Board, requiring the changing of character names, which too closely resembled the names of Nazi leaders, as well as turning the SS uniforms of the Fascist gangs into American gangster outfits.

Over the opening credits with Jaroslav Ježek’s march is heard, relating the story of David and Golaith, while Ježek’s other songs pepper the rest of the film. The first scenes are in Drexler’s “Panopticum,” a fairground side show that is destroyed by an irate crowd angry at the fake exhibits, foreshadowing the lies of fascists. The partners in the Panopticum, Drexler and Foreman, later meet and become enemies, Drexler becoming the head of a paramilitary force of the capitalist factory owner, Noel, Foreman leading a strike of the factory workers. A woman is killed by Drexler’s gangsters, the strike is lost, and Foreman and other strike leaders are fired. Meanwhile, the country’s democratic government is threatened, when Drexler prepares a coup for the right wing Bernard Lion with a hidden cache of weapons. Two news boys (Voskovec and Werich), caught up in the strike, find the weapons by accident in the Noel factory basement. Not knowing that they are handling hand grenades (manufactured by Alfred Krupp in the Third Reich), they cause an explosion and a battle with Drexler’s goons ensues. Meanwhile, Forman, alerts the Governor, and the police arrive to arrest the putschists.

**Gangsters as Fascist Goons in Svět patří nám**

**Alfred Krupp hand granade with Voscovec & Werich**

Unlike the previous Voskovec and Werich films, here the pair’s comedy skits are better integrated into an overall narrative. In their first appearance after carrying out news of the strike, they unwittingly paint slogans on a factory fence for Bernard Lion, but then paint “Long Live Forman.” In a long factory scene, Werich gets his head caught in metal bars and Voskovec tries to cut him free, while the factory machines have a mind of their own, a scene strongly reminiscent of Chaplin’s Modern Times (1936). According to Werich later, they shot the scene in two days, then went to see Chaplin’s film, realizing their idea was right there on screen: “Of course, no one ever believed us that we hadn’t stupidly stolen it. We tried to cut the whole scene out of the film — but the machines cost so much money that the producer (Miloš Havel, Vaclav’s father) wouldn’t let us.” Later they get trapped in the apartment of a fascist conspirator and then go looking for food in the basement of a factory, leading to a Keystone Cop like shoot out with the Fascist gangsters (we see no blood or corpses, just hear lots of noise). The gangsters are defeated when V&W cut off their gas mask hoses, a scene filled with Freudian castration imagery.

In keeping with the comedy duo’s leftist politics, The World Belongs to Us propagates a leftist theory of Fascism, namely that big capital finances and is aligned with authoritarian elements to upend the power the working classes and destroy democracies. The Fascist candidate Lion is never seen, nor the factory owner Noel, but it is evident that Drexler and his gangsters take their orders and are paid by them. According to one source, the fire in the Panopticum early in he film is a reference to the Reichstags fire. In one overtly political scene, Foreman (Vladimír Šmeral) goes to the Governor who tells him that the democratic rights of free speech must be maintained, even for the Fascists, if democracy is to survive. Thanks to the bumbling activity of V&W, the people are ultimately victorious, and it is they who are highlighted in the film’s climax.

**Victorious workers leaving the Noel factory**

In one of the final shots of the film, we see two newsreel cameramen filming the pro-Democracy demonstration: Martin Frič, the film’s director, and Otto Heller, the cameraman. As a Jew, Heller would soon go into exile in England, as would the assistant director Walter Schorsch, while the Austrian production manager, Josef Stein, who had a very long career in Germany before fleeing the Nazis in 1933, would die in June 1937 in exile in Prague, while The World Belongs to Us was being prepared for release.