#lars hanson

[falloweddoves]

This has been my favorite movie since I was 15 and Lars Hanson is my special interest I have original photos of him!!

The Scarlet Letter dir. Victor Sjöström (1926)

[avonlea71]

Little House On The Prairie - Season 1, ep. 02 (Harvest Of Friends).

**The Ingalls family finally settles in Walnut Grove and Pa makes a deal with Lars Hanson for a piece of land to build their new home and a job at the mill. He tells his family they're finally home, then swaps out their horses Pat & Patty for a pair of Oxen.

[ironduke37]

I have a theory. Hear me out.

They're gay.

[nina-silvertuin]

just finished watching a silent film called The Informer from 1929

it was so good in every way i srsly cant believe it isnt more well known

its a potent story with deep characters, great camerawork and directing, and most importantly a truely magnificent performance by Lars Hanson

i admit i got introduced to him through flesh and the devil, but its in roles in european films where he really has the liberty to show his talents: I loved his Gösta Berling for just how emotional that performance made me, and the exact same is true for his portrayal of Gypo Nolan

so definitely go watch this movie if you love moody silent films and great acting

(there's a pretty recent restauration by bfi with an amazing contemporary score, i forgot the composers name, but if youve ever wanted to watch a gunfight to the sound of irish reels, this is the movie for you)

[arte-e-homoerotismo]

"Leo, de repente tudo ficou claro para mim... como se um véu tivesse sido levantado..." "Eu sei... eu também senti..."

Lars Hanson e John Gilbert

Carne e o Diabo (1926) dir. Clarence Brown

"Leo, everything is suddenly clear to me...as if a veil had been lifted...." "I know...I felt it too..."

Lars Hanson and John Gilbert Flesh and the Devil (1926) dir. Clarence Brown

[bledaglad]

this made me go crazy

[erstwhile-punk-guerito]

[celluloidrainbow]

VINGARNE (1916) dir. Mauritz Stiller A conniving countess comes between a gay sculptor, Claude Zoret, and his bisexual model and lover, Mikaël. The film is largely lost, with only half an hour surviving of the original 70-minute film. A restoration was made using still photos and title cards to bridge the missing sections in 1987. Based on Herman Bang's 1902 novel Mikaël, the same source for the 1924 film of the same name. (link in title)

[rwpohl]

the wind, victor seastrom 1928

[newspdm]

Flesh and the Devil, 1926 starring Greta Garbo

Flesh and the Devil is an American silent romantic drama film released in 1926 by Metro-Goldwyn-Mayer and stars Greta Garbo, John Gilbert, Lars Hanson, and Barbara Kent, directed by Clarence Brown, and based on the novel The Undying Past by Hermann Sudermann. In 2006, Flesh and the Devil was selected for preservation in the United States National Film Registry by the Library of Congress as being…

[old-hollywood-smash-or-pass]

Requested by anonymous

[wewerealwaysthere]

The story involves a love triangle between Hanson, Gilbert and Greta Garbo. No surprise… the men live happily ever after.

[novamonkeyman]

[byneddiedingo]

Lillian Gish at MGM

John Gilbert and Lillian Gish in La Bohème (King Vidor, 1926)

La Bohème (King Vidor, 1926)

Cast: Lillian Gish, John Gilbert, Renée Adorée, George Hassell, Roy D'Arcy, Edward Everett Horton, Karl Dane, Mathilde Comont, Gino Corrado, Eugene Pouyet. Screenplay: Frédérique De Grésac; titles: William M. Conselman, Ruth Cummings; based on a novel by Henri Murger and an opera libretto by Luigi Illica and Giuseppe Giacosa. Cinematography: Henrik Sartov. Art direction: Cedric Gibbons, A. Arnold Gillespie. Costume design: Erté. Film editing: Hugh Wynn.

Bohème without Puccini, except for a few themes from the opera interpolated into the piano accompaniment for some contemporary prints. The screenplay by Frédérique (billed as Fred) De Grésac is said to be "suggested by Life in the Latin Quarter" by Henri Murger, which is also the source of the opera libretto by Luigi Illica and Giuseppe Giacosa. But the librettists took liberties with Murger, combining several characters and incidents, that are copied in the movie, so it's pretty clear that De Grésac paid at least as much attention to the opera as he did to Murger. It's very much a vehicle for Lillian Gish, making her debut at MGM. She wanted John Gilbert to play Rodolphe to her Mimi, but sometimes seems to be playing an anything-you-can-do-I-can-do-better game with her co-star. There is, for example, a scene in which Gilbert acts out the proposed ending to the play he is writing, with much swashbuckling. Then, a few scenes later, Gish acts it out again with similar verve for a potential backer for the play. Their courtship is a surprisingly hyperactive one, particularly in the scene in which they and their fellow bohemians go on a picnic that involves much running about. And Gish is not content to die calmly: On hearing that she won't live through the night, she makes a mad dash across Paris to be reunited with her lover, at one point allowing herself to be dragged along the streets while hanging onto the back of a horse-cart. Gilbert poses with feet apart and arms akimbo much too often, and the starving bohemians are given to much dashing and dancing. (Among them is the endearing and enduring Edward Everett Horton as Colline.) It's all a bit too much, and I have a feeling that the print I saw shown at the wrong speed, giving it that herky-jerky quality we used to attribute to silent films before experts corrected the speed at which they should be projected. The costumes are by the celebrated designer Erté, who is said to have had so much trouble working with Gish that he gave up designing for Hollywood.

Lars Hanson and Lillian Gish in The Scarlet Letter (Victor Sjöström, 1926)

The Scarlet Letter (Victor Sjöström, 1926)

Cast: Lillian Gish, Lars Hanson, Henry B. Walthall, Karl Dane, William H. Tooker, Marcelle Corday, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus. Screenplay: Frances Marion, based on a novel by Nathaniel Hawthorne. Cinematography: Henrik Sartov. Art direction: Cedric Gibbons, Sidney Ullman. Film editing: Hugh Wynn.

I'm pretty sure that any high school students who think they can get by watching Frances Marion's adaptation of Nathaniel Hawthorne's The Scarlet Letter instead of reading it are likely to be disappointed in English class. That said, no film version is going to reproduce the depth of characterization, the symbolic force, or the intellectual density of Hawthorne, so we should be grateful for what this one does give us: one of Lillian Gish's greatest performances. This was Gish's second film for MGM, after La Bohème, and it suggests that her talents were better suited to a contemplative director like Victor Sjöström -- or Seastrom, as MGM insisted on anglicizing his name -- than to King Vidor's more action-oriented style. If her Mimi in La Bohème was disturbingly hyperactive, her Hester Prynne is a marvel of understated acting. She uses her eyes and mouth and the tilt of her chin to convey a miraculous range of emotions, from stubbornness to fear, from strength to frailty. It's a pity that her Dimmesdale, Lars Hanson, doesn't match her in subtlety. He's more successful in this regard in their 1928 collaboration The Wind, which was also directed by Sjöström.

[ironduke37]

Gentlemen Companions™️

[thejazzera]

1927: Flesh And The Devil

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

Stars: John Gilbert, Greta Garbo, Lars Hanson