Luke, a young sailor and fisherman, who thinks he is jinx-ridden, has to be persuaded, and taunted,before he will join a sealing-expedition in the Artic; first by his sweetheart, so he can ... See full summary »
Millie Stope lives with her grandfather on a remote island. Her grandfather fled there for political reasons. But they're not alone. An escaped prisoner, Nicholas, is terrorizing them, and ... See full summary »
Yes, it's true, an all color silent movie! The title refers to Leif Ericsson, who leaves Norway to search for new lands west of Greenland. On the way he vies for the love of Helga with his companion Egil and Alwin, an English slave. More conflict arises when he stops at the colony of his father (Eric the Red) in Greenland, for Leif has converted to Christianity, which his father hates. He also has to deal with the unrest of his crew, who fear falling off the edge of the Earth.Written by
Robert Tonsing <email@example.com>
Although released by Metro-Goldwyn-Mayer, this was actually produced by the Technicolor company to demonstrate their new two strip Technicolor process in a feature length film. Producer Herbert T. Kalmus was the co-founder and president of the Technicolor company and is credited with inventing the Technicolor process. See more »
Viking women did not shave their underarms, nor wear the strapless bustiers shown in the film. See more »
The title card bills the three stars in the order Pauline Starke [top billing], Donald Crisp [second billing], and Le Roy Mason [third billing]. But the opening credits end with "The Players" listed in the order: first "Leif Erickson ... Donald Crisp," second "Helga . . . Pauline Starke, third "Alwin . . . Le Roy Mason," etc. The characters appear on screen in the order Alwin, Helga, and Leif Erickson. See more »
The distinction of being the first all-Technicolor feature can't save this silent melodrama from being the tongue-in-cheek relic it now is, but of course there hasn't yet been a Viking saga made that was able to avoid the booby-trap of built-in silliness. Even so, this tempestuous (and ridiculous) Norse romance stretches credibility to the limit, boldly revising history to introduce Lucky Leif Eriksson as an early disciple of Christianity, defying his father's pagan beliefs and planting the cross of Jesus on the shores of a New World (said to be Rhode Island), where he promptly begins converting the natives to the One True Faith. Somehow the textbooks not only missed this fact, but also overlooked the passionate love quadrangle between Leif, a beautiful young Valkurie he secretly loves, a handsome young English slave, and a sinister sea captain. The novelty of color was not enough to turn audiences away from the far richer treasures of black and white film; like 3D in later decades, color was not, in the 1920s, something to be regarded seriously, and on the evidence of lively hooters like The Viking it's easy to see why.
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