Perhaps it's no coincidence that Sartov was also the cinematographer for Lillian Gish's LA BOHÈME (1926), since a picture of John Gilbert with Gish from that film elicits a like response in me.
There is something almost tangible in the depths of these images, a burnishing of texture that draws me into the scene. Sartov - if it is Sartov who is responsible - plays with perspective, in some shots capturing the depths of a room in pristine focus; in others, figures loom out of the shadows. Marion Davies is often shown in these pictures as a delicious madcap, in keeping with her public persona, but this image of her in Helen Jerome Eddy's consoling arms is fraught with tragedy.
I have a number of MGM rush proofs in my collection, remarkable (ironically?) for the beauty of their finish. A number of them are connected to Marion Davies' silent version of QUALITY STREET (1927), which co-starred Conrad Nagel, Helen Jerome Eddy, and Flora Finch - one of the first comedy film stars, and best remembered for her partnership with John Bunny. The film's cinematography is credited to Hendrik Sartov.
