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Scott Lord and Girlfriend:Boston skyline from Donna's Cambridge terrace,... Posted: 06 Jul 2011 06:48 PM PDT Donna and I spent four nights together. Tonight she bought dinner. During the four days together we went for scenic cabrides, which was nice. Scott Lord

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An e-mailed letter to the present author ends, "Many people in Sweden says that Greta Garbo is a main collector's item but the Garbo posters didn't fetch much interest." It was sent by a collector of movie posters who had been to the movie poster auction in Gothenburg, Sweden, which was held as part of the Gothenburg Film Festival, February, 2006. Included in the auction were two posters from the film A Two Faced Woman. As there was speculation as to what script could possibly bring Greta Garbo back to the silver screen, as Eva Henning and Viveca Lindfors were being introduced to Swedish audiences and as Ingmar Bergman was laying the beginnings of a body of film that would secure him as the director that would circulate the films of the Swedish Film Institute into an international viewing, Ingrid Bergman was in the United States making the 1946 film Notorius with Alfred Hitchcock, her earlier having appearred in the film Dr. Jeckyll and Mr. Hyde (1941). It was also at this time that there would be a remake of Anna Karenina, starring Vivien Leigh and directed by Julien Duuvier.

From a script co-written by Birgit Tengroth based on her short stories, Three Strange Loves ( Thirst, Torst 1949), directed for Svensk Filmindustri by Ingmar Bergman and photographed by Gunnar Fischer, had starred Mimi Nelson, Eva Henning and Hasse Ekman. Birgit Tengroth also appears in the film. Hugo Bolander filmed as an assistant director with Ingmar Bergman and Oscar Rosander edited the film. Bergman writes that the film is in fact about a journey and that his aim was that the "complicated camera movements" be unnoticed by the audience; "you can see the seems if you look closely" (Ingmar Bergman). Bergman, during an interview with Swedish author Jonas Sima, had remarked, "I like Eva very much. She was an extraordinarily fine actress." Before Eva Henning appeared in The Banquet (Banketten, 1948), she had also appeared in Elvira Madigan (1943) and The Royal Rabble ( Kungliga patrasket, 1945) which also starred its director, Hasse Ekman. Ekman directed her with Alf Kjellin in 1945 in the film Wish on the Moon (Vandring med mannen). In 1947 she appeared with Sonja Wigert in his film One Swallow Doesn't Make A Summer (En fluga gor ingen sommar). Hasse Ekman had begun directing with With You In My Arms (Med dej i mina armar, 1940), the first film in which Elsie Allbin was to appear, it being followed by First Division (Forsta Divisionen, 1941) in which he and Lars Hanson starred. In 1942 he directed Ingrid Tiblad in Langor i dunklet and Marguerite Viby in Luck Arrives (Lyckan kommar). While comparing Swedish actresses of the thirties, Tytti Soila writes that Royal Dramatic Theater (Kungliga Dramatiska Teatern) "actors were easy to identify thanks to their inflated and stylized acting and above all-after the introduction of sound film- by their unnatural manner of delivering lines. Actors like Lars Hanson and Inga Tiblad never succeded in liberating themselves from this formal style of acting" Apparently this was not entirely to the dismay of Swedish audiences, as their films were still popular in Sweden. In 1943 Hasse Ekman continued with the films Unexpected Meeting, Change of Trains (Om byte ar tage), with Sonja Wigert and The Sixth Shot (Sjatte Skottet), written by G?sta Stevens and starring Edvin Adolphson, Karin Ekelund and Gunn Wallgren. In 1944 he directed Lars Hanson again in His Excellency (Excellensen), with Gunnar Sjoberg and Erik Hampe Faustman as well as having directed A Day Will Dawn (En Dag Skall gry) with Edvin Adolphson for Sandrews Productions. In 1946 the director filmed Nightly Encounter (Meeting in the Night/Mote i nattan) starring Eva Dahlbeck and When The Door Was Closed (When The Door Was Locked, Medan portan var stangd), all of which were films in which he had starred. Writing about the premiere of A Ship Bound for India (Skepp till Indialand, 1947), a film which had been based on a play by Martin Soderhjelm that had starred Gertrude Fridh, Ingmar Bergman describes a meeting with Hasse Ekman with "an unbelievably gorgeous Eva Henning at his side." The film was produced by Terrafilm. Girl with Hyacinths (Flicka och hycintar, 1950) had again brought Eva Henning to the screen, it starring Anders Ek and directed by Ekman. The film is listed as being one of the favorites screenings of director Ingmar Bergman. Bordwell and Thompson, in a Bloglines RSS entitled Observations on film art and Film Art, blog that there are ten retrospective narrative scene-sequences in Girl with Hyacinths, but more notably relate that these retrospective narratives interlock. During the previous year Eva Henning had appeared with Hasse Ekman in his film The Girl From the Gallery/The Girl in the Third Row (Flickan fran tredje raden), which had also starred Maj-Britt Nilsson. Ekman directed the film for Terra Film. She then made The White Cat (1951) (Den vita katten) with Gunnar Bjornstrand and Alf Kjellin and Gabrielle (1954), photographed by Gunnar Fischer and also starring Karin Molander, both of which films were also directed by Ekman. In 1948, Ekman directed Each Goes His Own way (Var sin vag) with Eva Dahlbeck and Gosta Cederlund and Little Marta Returns (Lilla Marta kommer till baka), produced by Terrafilm. Viveca Lindfors began acting on the screen with the director Ivar Johanson in the films The Spinning Family (Snurriga Familjens, 1940), scripted by Torsten Lundquist, Imagine If I Marry the Vicar (Tank, Om Jag Gifter Mig Med Prasten), a Swedish Karleksdrama based on a novel by Ester Linden and starring Gudron Brost, Arne Mattsson the assistant director to the Swedish Karleksdrama, (1941) and The Yellow Ward / The Yellow Clinic (Gula Kliniken, 1942), with Anna Lindahl, Barbro Kollberg, Karin Kavli, Gull Natorp, Ruth Stevens and Mona Martenson. She then appeared with Birgitta Valberg in In Paradise (I Paradis, 1941) directed by Per Lindgren and with Gudron Brost in The Sins of Anna Lans (Anna Lans, 1943) a Swedish Karleksdrama directed by Rune Carlsten and photographed by Ernst Westerberg, it having been the first film in which actress Toivo Pawlo was to appear. Black Roses (Svarta Rosor, 1945), directed by Rune Carlsten, a remake of the earlier film, would star Viveca Lindfors with Eva Dahlbeck and Ulf Palme. G?sta Cederlund directed Lindfors in The Brothers' Woman (Brodernas kvinna, 1943), based on a novel by Ebba Richert and starring Britta Holmgren. The film was produced by Film AB Lux. Eric Petschler, who had directed Greta Garbo in Sweden before she had travelled to the United States, appeared as an actor with Lindfors in the film Jag ar eld och luft (1944) directed by Anders Henrikson, the assistant director to the film G?sta Folke. One of the first films that Arne Mattsson was to direct, Marie in the Windmill (Maria pa Kvarngarden, 1945) had starred Viveca Lindfors, it also featuring the daughter of Victor Sj?str?m, Guje Lagerwall, as well as Edvin Adolphson, Irma Christensen, Linnea Hillberg and Rune Carlsten. In 1946, Lindfors starred with the director Hasse Ekman in his film (In the Waiting Room of Death(Interlude/I dodens vantrum) which had been based on a novel by Sven Stolpes, the assistant director to the film Bengt Ekerot. Like Greta Garbo she later came to the United States to make film. Among those in which Lindfors had appearred were The Adventures of Don Juan (1948) and The Raiders (1952). Swedish Film actress Mai Zetterling would decide upon England. Before later returning to Sweden, she appearred in several British films, the first of which, Frieda (1947), her performance having had been being under the direction of Basil Dearden. In 1948, Mai Zetterling was to appear in Terence Fischer's Potrait from Life, her then having appeared in the films The Bad Lord Byron (Macdonald), The Lost People (Knowles) and The Romantic Age (Greville). Having read the script to the adaptation and having agreed to make the film,in 1949 Garbo made a thirteen minute screentest in black and white for La Duchesse de Langeais shot by William Daniels and James Wong Howe. "I thanked him by leaving for Svensk Filmindustri, where Gustaf Molander had meaninwhile made a film out my original screenplay, Woman without a Face." Filmed under Victor Sj?str?m, the cinematographer to Kvinna utan ansikte (1947), scripted by Ingmar Bergman, was Ake Dahlqvist. The film stars Alf Kjellin, Gunn Wallgren, Anita Bj?rk and Marianne Lofgren. Photographed by Goran Strindberg and directed by Alf Sj?berg, Miss Julie (Froken Julie, 1950) begin with a series of exterior shots, often cutting in close up shots with long and full shots, almost as though to supplant the establishing shot with the use of an entire scene before it introducing two initially minor characters in a kitchen by showing the title character, potrayed by Anita Bj?rk, evesdropping on them. He uses a horse drawn carriage to connect the interior dialouge of the one-act play to the open countryside, using long shots from different camera positions. As the film continues, Sj?berg uses statues and a lake during exterior shots of a garden to connect the characters to the landscape , which can nearly seem pastoral as the film begins to depend more and more upon the dramatic acting of Bj?rk. The film then shifts to a legnthy interior dialouge scene as the two characters decide whether to leave the country and begin again together. The film concludes by Miss Julie being last seen in an exterior reestablishing shot. While writing about The Road to Heaven (Himlaspelet), Cowie attributes S?berg as being a director that "could reconcile the alfresco scope of the cinema" with the compressed acting and dialouge that comprises the playwright's articulation of the visual on the stage. Sj?berg had in fact returned to the theater after having directed Anders Henrikson The Strongest (Den Starkaste, 1929). Author Peter Cowie goes so far as to write, "But during the thirties Sjöberg was ostracized by the film industry. So keen was the appetI'm ite for frivolous domestic comedies that a director of Sjöberg's intent incongruous at the studious." Examining Sj?berg's adaptation of the Strindberg play, Tytti Soila views the subject positioning of the Anita Bj?rk character as the use of the theatrical within film to structure the look of the character, "The object of her desire is her possibility of knowing and the consequences of knowledge: more than sexual satisfaction and love, the drama is about acquiring sexual experience and knowledge about sex." Ostensibly, the feminine gaze as a desire to acquire knowledge about sexual relations is also thematic in Vilgot Sj?man two films I am Curious Yellow and I am Curious Blue. The film Home from Babylon (Hem fran Babylon, 1941), starring Gerd Hagman, marks the beginning of Alf Sjoberg's return from the theater to to film . Alf Sj?berg directed Maj-Britt Nilsson in her first film, Journey Out (Resanbort, 1945), photographed by Martin Bodin and starring Gunn Wallgern and Hjordis Petterson. In 1946 Sjöberg paired Mai Zetterling and Alf Kjellin in Iris and the Lieutenant (Iris och lojnantshjarta). Froken Julie was produced by noted author and film historian Rune Walderkranz for A B Sandrew. After filming Sonja Wigert in And All These Women (...och alla dessa kvinnor, 1944) Arne Mattsson continued directing in 1945 with the comedy Sussie, written by S?lve Cederstrand and starring Gunnar Bj?nstrand and Marguerite Viby and the films Incorrigible (1946) and Bad Eggs (Rottagg, 1946), scripted by Sven Zetterström and photographed by Sten Dahlgren and starring Marianne Lofgren, Ingrid Backlin, Harriet Philpson and Elsie Allbin. In 1946 Arne Mattsson also directed Gunnar Bjornstrand in the film Peggy pa Vift, starring Gunnel Brostrom and Marguerite Viby, and, in 1947, followed with the film Father Wanted (Pappa sokes), starring Gunnar Bj?nstrand and Sickan Carlsson. o 1946 was to mark the film Det eviga leendet being on the theater marquees in Sweden, it being the film that would introduce Eva Lombard. The film was written and directed by Lars Eric Leidholm and starred Barbro Hogstadius. Eva Dahlbeck that year appearred in Rolf Husberg's film Love Goes Up and Down/Love and Downhill Skiing (Karlek och stortlopp), starring Agneta Lagerfelt, Signe Furst, Hjordis Petterson and Karin Miller in her first on screen appearance. Agneta Lagerfelt would also that year appear in Rolf Husberg's film Evening at Djurgarden (Djurgardsikvallar), phototographed by Julius Jaenzon and starring Ingrid Bjork, Naima Wifstrand and Emy Hagman as well as the film Kvinnor i vantrum, directed by Gösta Folke, written by Solve Cederstand and photographed by Eric Blomberg. The film stars Britta Holmberg, Anna Lindahl and Solveig Lagström. Eic Blomberg that year was also the cinematographer for the film Wedding at Sun Island (Brollopet Pa Solo), directed by Ivar Johansson and starring Rut Holm, Emy Hagman and Sibrit Molin in what was to be her first appearance on the screen. Nils Poppe in 1946 would direct The Balloon (Ballongen), with Marianne Aminoff, Inga Landgre, Marianne Lögren, Ingrid Borthen and Marianne Gyllenhammar. Schamyl Bauman that year directed the film Saltwater Spray and Tough Old Boys (Saltstank och Krutgubbar) photographed by Sven Nykvist and starring Irma Christensen, Gull Natorp and Inrid Ostergren. Finnish film director Teuvo Tulio directed actress Regina Linnanheimo in two films during 1946, The Cross of Love (Rakkauden risti/Karleckens kors) and Restless Blood (Levoton veri/Orolist blod). He followed in 1947 by directing her in the film In the Grips of Passion (Intohimon vallasa/I ledelsens famn). Finnish actress Helena Karan that year appeared in the film Ruined Youth (Tuhotto nuoruus), directed by Hanu Leminen. Ake Ohberg in 1948 directed Where the Wind Blows (Dit Vindarna Bar), the first film in which Ingrid Thulin was to appear. In the film are also George Fant and Eva Strom. Elof Ahrle that year directed Livet pa Forsbyholm, photographed by Julius Jaenzon. That year Gosta Werner directed Maj-Britt Nilsson in The Street (Gatans). Arne Mattsson that year directed the film Dangerous Spring (Farlig var). Erik Hampe Faustman in 1948 directed Eva Dahlbeck in the film Lars Hard and George Fant with Illona Weiselmann in the film Foreign Port (Fremmande hamn/Strange Harbor). Anders Henrikson in 1948 directed Eva Dahlbeck in the film The Girl From the Mountain Village (Flickan fran fjallbyn).

Photographed by Gunnar Fischer and edited by Oscar Rosander, Port of Call (Hamnstad, 1948) starreid Nine Christine Jonsson as the central character in a script written by Olle Lansberg titled The Gold and the Walls, the film "shot on location in Gotheburg, with interiors at the SF studios in Stockholm" (Peter Cowie) where the camerawork of Bergman begins showing not only the enviornment in which the characters find the situations that emerge around them, but also what may isolate the character while involved with the development of plotline events as he or she develops as character. Also in the film are Bergit Hall, Mimi Nelson, Birgitta Valberg and Britta Billsten. Jorn Donner remarks upon Port of Call as being noteworthy for its "unsentimental tone" in regard to the narrative and its exposition of storyline, and for there being a uniformity to the style in regard to the technique used in the film. In Images, Ingmar Bergman writes that he tried to include as many exteriors as he could in order to create something new with Swedish cinema that would include the use of realism. Jorn Donner in fact attributes the film with having brought a realism to its character portrayal and goes so far as to invoke the camerawork of Stiller and Sjostrom in that Bergman uses the enviornment to bring the development of its characters to the depth that ends the film. In 1949 Arne Mattson directed Victor Sj?str?m in The Railroad Men (Rallare), based on a novel by Olle Lansberg. It was photographed by Martin Bodin who had worked with Arne Mattsson on the film A Guest Came (Det kom en gast, 1947) with Sture Lagerwall and Anita Bj?rk. Mattsson again directed Sj?str?m in Hard klang (1952) with Margit Carlqvist and Edvin Adolphson and Men in Darkness (Mannen i Morker, 1955). In 1949 he also directed Woman in White (Kvinna i vitt) with Mimi Nelson and Eva Dahlbeck. In her autobiography, All Those Tommorows, Mai Zetterling writes, "Music in the Darki was to be my first and last picture with Ingmar Bergman directing. It was in 1947...Music in the Dark was basically a sentimental love story about a man who goes blind through an accident and a young girl who falls in love with him. What Ingmar was interested in was the man's loss of identity, his lonliness and his despair." She continues candidly and with all kindness to describe her relationship with Bergman as an actress at that time as not having brought enough to her performance and that she looked to Alf Sj?berg for inspiration. Musik i Morker (Night is My Future) was photographed by Göran Strindberg and stars Hilda Borgstr?m, Gunnar Bj?rnstrand and Birger Malmsten. Jorn Donner writes, "Compared with Port of Call, Night is My Future seems to be an almost completely commercial film. In his autobiography Images, Bergman writes that he had in fact directed the film with the thought of it being enjoyable to watch Theaters in 1947 were to see the script writing of Rune Walderkranz, cowriting with Ragnar Arvedson on a film that Arvedson co-directed with Schamyl Bauman, Maj pa Malo, photographed by Sven Nykvist and starring Inga Landre. Rune Waldekranz that year produced the film Life in the Finn Woods (Livet i Flunskogarna), directed by Ivar Johansson and phtographed by Eric Blomberg. Starring are Sigbrit Molin, Barbro Ribbing, Mirjami Kuosmanen and Nine-Christine Jonsson. It was also the year that Song of Stockholm (Sangen om Stockholm) , would be shown on the theater screens of Sweden. Directed by Elof Ahrle, the film stars Hilda Borström, Alice Babs, Karin Swenson and Marianne Gyllenhammar. Audiences would also be reintroduced to actress Eva Dahlbeck, who appeared in the film The Key and the Ring (Nyckeln och Ringen), under the direction of Anders Henrikson. The film was photographed by Harald Berglund and scripted by Swedish silent film screenwriter Bertil Malberg. Also starring in the film were Aino Taube, Ulla Sallert, Hild Bögström and Maj Töblad. Henrikson would again direct Eva Dahlbeck in 1948 in the film The Girl from the Mountain Village (Flickan fran fjallbyn), photographed by Bertil Palmgren and written by Sven Gustafson. The film also stars Kerstin Holmber and Sif Ruud. Inger Juel would appear in her first film in 1947, The Most Beautiful in the World (Det Vackraste Pa Jorden), also directed by Anders Henrikson and starring Marianne Lofgren. Gosta Bernhard directed his first two films in 1947, 91:an Karlssons permis and En sommarweekend. Sture Lagerwall went from actor to director with the film Here We Are Coming (Har kommer vi) in 1947, scripted by Torsten Lundquist, Greta Garbo biographer Fritiof Billquist and Marianne Aminoff having appeared in the film. The film was co-directed with actor John Zacharias, as was the film I Love You, Karlsson (Jag Elskar Dig, Karlsson) in which he starred with Marguerite Viby, Viveca Serlachius, Solveig Lagstrom and Linnea Hillberg. The cinematographer to the film was Rudolf Frederiksen. Lagerwall appeared as an actor in Gunnar Skoglund's film How t o Love (Konsten att alska, 1947) with Wanda Rothgardt and in Bengt Palm's film The Night Watchman's Wife (Nattvaktens hustru, 1948) with Britta Holmberg, a film which was produced by AB Centrumfilm. Gosta Folke that year directed Maj-Britt Nilsson in the film Maria. Stig Jarrel in 1947 directed and appeared in the films Evil Eyes and The Sixth Commandment (Sjatte Budet), which also starred Ingrid Backlin and Gosta Cederlund. Lars-Eric Kjellin directed his first film that year, Don't Give Up (Tappan inte sugen), starring Ulla Sallert and Annalisa Erickson and photographed by Gunnar Fischer. Eva Dahlbeck that year appeared in the film Two Women (Tva kvinnor), directed by Arnold Sj?strand. Eric Hampe Faustman in 1947 directed the Viking-medieval adventure film Harald the Stalwart (Harald Handfaste), with George Ryderberg and George Fant. Anita Bj?rk that year appeared in the film No Way Back (Ingen vag till backa), written and directed by Edvin Adolphson. Ragnar Arvedson that year directed Edvin Adolphson and Karin Ekelund in the film Dinner for Two (Supe for tva), with Mimi Pollack, it having been the first film in which actress Ann-Mari Wiman was to appear. Swedish actress Monica Nielsen appeared in her first film in 1947, Kvarterets Olycksfagel directed by P. G. Holmgren with Ella Lindblom and Lillemor Appelgren. The following year, Gustaf Molander continued directing with the film Life Starts Now (Nuborjar livet, 1948), photographed by Ake Dahlqvist, edited by Oscar Rosnader and written by Rune Lindstrom and starring Wanda Rothgardt and Mai Zetterling. The Trumpet Player and the Lord (Trumpetar och Var Henne), a film written by Ingmar Bergman was became an opportunity for he and Gustaf Molander to script the film Eva (1948), directed by Molander and photographed by Ake Dahlqvist, with Eva Stiberg in the title role supported by Swedish actresses Hilda Borgström Wanda Rothgardt and Inga Landgre. Erland Josephson and Stig Olin play to Birger Malmsten in the film. In 1949 Molander directed Love Will Conquer (Karleken Segrar), scripted by G?sta Stevens, with Ingrid Thulin. Egil Molmsen in 1948 would direct Ingrid Thulin and Gerda Landgren in the film Kann dej som hemma. The very beautiful Else Fisher was introduced to Swedish movie goers in 1948 in tI'm he film Stanna en stund, directed by Alex. Jute and photographed by Sten Dahlgren. In 1952, she appeared with Yvonne Lombard in the film Bom the Flyer (Flyg-Bom). Gunnar Hogland directed the film Vi bygger framtiden with Ingrid Thulin in 1949. Both Eva Dahlbeck and Max von Sydow that year appeared in the film Only a Mother (Bara en mor), adapted from a novel by Lo-Johansson, photographed by Martin Bodin and directed by Alf Sj?berg. The film was the first film in which actresses Sonja Rolen and Margaretha Krook were to appear. Mimi Pollack also appears in the film. Bara en mor is listed by the Ingmar Bergman Foundation as being among one of the most liked by the director. The Woman Who Disappeared (Kvinnan som f'rsvann), directed by Anders Angström and photographed by Bertil Palmgren in 1949, starred Inger Juel and Cecile Ossbahr. Arthur Spjuth that year wrote and directed his first film in 1949, Bohus Bataljon, codirected by S?lve Cederstrand, it starring Greta Garbo biographer Fritiof Billquist. After having directed his royal majesty Gustaf V. Kung av Sverige in the film Directorn ar upptagen (1945), Per Gunvall directed the film Pippi Longstocking (Pippi Langstrump, 1949) with Viveca Serlachius and Benkt-Ake Benktsson. Lars-Eric Kjellin in 1949 directed the films The Lord from the Lane (Greven fran granden) with Mimi Nelson and Annalisa Ericson and Father Bom (Pappa Bom). In a film scripted by Rune Lindström, Ake Ohberg that year brought Sonja Wigert, Inger Juel and Margareta Fahlen to the screen in Destination Rio (Vi flyger pa Rio). Schamyl Bauman in 1949 brought Harriet Andersson to the screen in the film Playing Truant (Skolka Skolan). Maj-Britt Nilsson in 1949 appeared in the film Spring at Sjosala (Sjosalavar), produced by Rune Waldekranz and directed by Per Gunvall. Ivar Johansson in 1949 wrote and directed the film Lasky-Lasse goes to Delbo (Lang-Lasse i Delsbo), photographed by Sven Nykvist and starring Anna Lindal and Ulla Andreasson. The Swedish Horseman (Svenske Ryttaren) was directed by Gustaf Edgren in 1949 and starred Elisabeth Söström, Gunnel Brostrom, Gull Natorp and Barbro Nordin. In 1950, Ivar Johansson directed When Lilacs Bloom (Nar Syrenerna blomma), photographed by Sven Nykvist and Land of Rye (Ragen Rike), photographed by Sven Nykvist and starring Nine-Christine Jonsson and Linnea Hillberg. Hasse Ekman that year directed Ingrid Thulin, Irma Christenson, Gertrud Fridh and Eva Dahlbeck in the film Jack of Hearts (Hjarter knekt), the first film in which Barbro Larsson would appear. The Newer, a novel by Albert Olsson published in 1947, was quickly adapted for Arne Mattsson, who directed Ingrid Thulin , Ruth Kasdan, Sigge Furst and Irma Christenson in the film When Love Arrived in the Village (Nar karleken till byn, 1950). Mattsson also that year directed Cruise Romance (Kyssen pa kryssen), starring Annalisa Ericson, Gunnar Bjornstrand and Ake Gronberg as well as Saucepans-journey (Kastrull-resan), starring Eva Dahlbeck and Sigge Furst. Scripted by G?sta Stevens and photographed by Ake Dahlquist, Gustaf Molander directed Eva Dahlbeck, along with Elsa Carlsson, Olaf Winnerstrand, Viveca Serlachius and Karl-Arne Homsten in the film Fastmo uthyres, 1950, the first film in which actress Birgitta Olzon was to appear. Ake Ohberg that year directed Ulla Sallert and Mimi Nelson in the film Young and in Love (Ung och kar). Kungs Film in 1950 produced Gosta Werner's film Across the Yard and Two Flights Up (Tva trappor over garden), photographed by Sten Dahlgren and starring Gertrud Fridh, Irma Christensen, Ilse-Nore Tromm, Sif Ruud, Lisskulla Jobs, Ann Bornholm, Ingrid Lothigius, and Else Fischer. Schamyl Bauman in 1950 paired Edvin Adolphson and Sickan Carlsson in Frokens forsta barn, a film that would include an early screen appearance of Swedish film actress Harriet Andersson. Froken forsta barn was photographed by Hilding Bladh. During 1950, both Birger Malmsten and Haide Göransson appeared on the same movie set together with the film Regementets ros, directed by Begnt Jarrel and photographed by Olof Ekman. Also in the film are Margareta Fahlen and Siv Thulin. Swedish film actress and acquaintance of Greta Garbo Mimi Pollack directed her first film, Mama gor Revolution, photographed by Elner Akesson and scripted by Elsa Appelquist, in 1950. Peter Cowie looks to the film Summer Interlude (Sommarlek, 1950), starring Maj-Britt Nilsson, Alf Kjellin and Annalisa Ericsson, as being the film where Ingmar Bergman began to develop unique uses of film technique and a more extensive use of the close-up to dramaticly develop character. In his autobiography Images, Ingmar Bergman writes, "A touch of tenderness is achieved through Maj-Britt Nillsson's performance. The camera catches her with an affection that is easy to comprehend." In his autobiography Images, Bergman gives an account of his writing the script, "I wrote several versions, but nothing fell into place. Then Herbert Grevenius came to me aid. He chiseled away all the superfluous episodes and pulled out an original story." To continue the tradition established by Sjöström and Stiller of using the enviornment to convey theme in Swedish film, a tradition that would show Bergman's technique in Cries and Whispers as being that of a director that had filmed after Gustav Molander, Bergman discusses the lighting used in the film and his filming at twilight, "The landscape had a special mixture of a tempered countryside and wilderness, which played and important part in the different time schemes." Immediately after filming Summer Interlude, Ingmar Bergman went into the production of the film This Can't Happen Here (Sant Hander Inte Har). He writes, "I was not at all adverse to making a detective story or a thiller; that was not the reason for my discomfort. Neither was Signe Hasso the reason. She had been hailed as an international star who Svensk Filmindustri, with incredible naivete, had hoped would make the film a raging success." Again Herbert Grevenius was to be the scriptwriter with Bergman, his adapting for the screen a novel written by Peter Valentin. The cinematographer to the film was Gunnar Fischer, its editor Lennart Wallen. Alf Kjellin also appears on screen in the film as does actress Yngve Nordwall. In 1951 Arne Mattson directed the film Rolling Sea/Carrying Sea (Barande Hav) with Eva Dahlbeck and Ulla Jacobsson. Eva Dahlbeck that year also appeared in the film Daisywheel Helena (Skona Helena), cowritten by Rune Walderkranz with its director, Gustaf Edgren and photographed by Hilding Bladh. That year Gosta Bernhard directed Kenne Fant in the film Poker, which also starred Ingrid Backlin and Margetha Löwler. Swedish poet Folke Isaksson in 1951 published the volume Vinterresa, his following it in 1954 with the volume Det grona aret. 1953 saw the publication of Isaksson's novel Irrarder. In 1952 G?sta Werner directed Ingrid Thulin in the film Mote med livet. The Long Search (Memory of Love, Han glomde henne aldrig, 1952), a film that had featured the daughter of Victor Sj?str?m, Guje Lagerwall, and Anita Bj?rk, had also starred Sven Lindberg, who co-directed the film with Robert B. Spafford. Lars Eric Kjellgren was again to be the director of Mimi Nelson, his teaming her with Annalisa Ericson that year for the 1952 film Say it with Flowers (Sag det med blommar), scripted by GöI'm sta Stevens. Noregian film director Arne Skouen in 1952 wrote and directed the film Forced Landing (Nordlanding), photographed byPer G. Jonson and starring Randi Kolstad.

Secrets of Women (Waiting Women, Kvinnors vantan, 1952) is of an episodic narrative structure, it being a film where "its narrative method gives us more variety than depth" (Birgitta Steene); each of the female characters narrates a retrospective account from their marriage, Bergman dividing the film not only between scenes but between characters as well. In the film are Anita Bj?rk, Maj-Britt Nilsson and Eva Dahlbeck. Anita Bj?rk and Jarl Kulle are filmed in close-up, Maj-Britt Nilsson and Birger Malmsten are shown on location in exterior shots and Eva Dahlbeck and Gunnar Bj?rnstrand are filmed by Gunnar Fischer in an elevator sequence during a dialouge scene involving mirrors which are "used to suggest the inanity of the repartee" (Peter Cowie) as the conversation is drawn out by the couple being filmed in a continuous take. Ingmar Bergman had based the scene on one of his own experiences. He writes, "There was something fateful about the meeting between the three of us: me, Eva and Gunnar. Both of them were talented and creative actors. They felt immediately that although I had perhaps not yet written a spectacular text, the collaboration offered them great oppourtunities.

Bergman writes that it was because he was so pleased with the acting performances of Eva Dahlbeck and Gunnar Bj?nstrand in Secrets of Women that he wrote A Lesson in Love (En lektion i karlek, 1953) for them in order to develop the theme of the elevator sequence more elaborately. Birgitta Steene also compares the two films thematicly, their both being concerned with the acceptance on the part of the female character of a husband within an erotic relationship. As in Secrets of Women, Bergman uses retrospective narrative to present the characters and storyline. Photographed by Martin Bodin, A Lesson in Love quickly introduces itself as a comedy with a voice over and a musical box. Gunnar Bjornstrand and Eva Dahlbeck meet each other on a train after a series of dialougue scenes that cutback and forth establishing the films interwoven narrative structure. The camera then holds Bjornstrand and Harriet Andersson in conversation during a series of scenes in which she falls alseep in his arms. Bergman uses the train compartment to keep Eva Dahlbeck and Bjornstrand in close up and in tight close up. The prolonged dialouge scenes that are contrasted with the complicated narrative framework then shift to the retrospective of Eva Dahlbeck as she is framed by a camera that pans only minimally. The storyline, after reintroducing Harriet Andersson into the film, concludes in Denmark.

In 1953 Erik Hampe Faustman directed Inga Tiblad, Annalisa Ericsson, Birgitta Valberg, Eva Dahlbeck and Ulla Sjoblom in the film House of Women (Kvinnohuset). Notably, Eva Dahlbeck also that year starred in Alf Sjöberg's film Barabbas, with Yvonne Lombard and Jarl Kulle. Rolf Husberg that year wrote and directed the film All the World's Delights (All jordens frojd), starring Ulla Jacobsson, Kenne Fant and Birger Malmsten. Gustaf Molander in 1953 directed Unmarried (Glasberget) starring Hasse Ekman and Gunn Wallgren.

Hidden in the Fog (I dimma dold) was directed in 1953 by Lars-Eric Kjellgren and starred Eva Henning, Sture Lagerwall and Sonja Wigert, its cinematographer, Gunnar Fischer. That year Lars Eric Kjellgren also directed Max von Sydow, Anne-Marie Gyllenspatz and Ingerid Vardund, Lissi Alandh in the film No Mans Woman (Ingen mans kvinna). The film also marks the first Swedish screen on screen appearance of Norwegian actress Ella Hval. Hasse Ekman in 1953 directed the film We three are making our debut (Vi tre debutera), starring Gunnar Bjornstrand and Maj-Britt Nilsson, the cinematographer to the film Gunnar Fischer. That year Eva Dahlbeck appeared in The Shadow (Skuggan), the first film directed by Kenne Fant. It was photographed by Kalle Bergholm and also starred George Rydeberg and Pia Arnell. That year Fant also directed Edvin Adolphson and Pia Skoglund in Wingbeats in the Night (Ving slag i nattan). Bror min och jag, directed in 1953 by Ragnar Frisk and starring Anna-Lise Baude included Birgitta Andersson in a small role, it being the first film in which she was to appear. Eva Dahlbeck appeared under the direction of Ake Ohberg in the 1953 film The Chief from Goingehovingden (Goingehovingden). Martin S?derhjelm in 1953 directed Fritiof Billquist in the film Dance with my Doll (Dansa min docka). Rolf Husberg in 1953 directed Swedish silent film actress Hilda Borgstrom in the film Each Heart has its Own Story (Vart hjarta har sin saga). Egil Holmsen that year directed Margit Carlqvist in the film Marianne. Carlqvist also during 1953 appeared in the film Path to Klockrike (Vagen till Klockrike), directed by Gunnar Skoglund and starring also starring Edvin Adolphson. The first two films directed by Stig Olin were released in 1953, both starring Alice Babs and Sigge Furst and both written by the director, I dur och skur, photographed by Hilding Bladh and also starring Yvonne Lombard, and Resan till dej, co-written by Hasse Ekman and photographed by Göran Strindberg, Anders Henrikson and Ulla Sjöblom having also starred in the film. Storm over Tjuro (1953), starring Gunnel Brostr?m and Margaretha Krook and Salka Valka (1954), starring Gunnel Brostr?m and Folke Sundquist, both directed by Arne Mattsson, were photographed by Sven Nykvist. Mattson in 1954 also directed the film Enchanted Journey (Fortroll ad vandrig). During an interview, Ingmar Bergman told Stig Bjorkman, "Bibi has one or two lines in Smiles of a Summer Night, but she had already been in lone of my Bris films. Even at the time she had been in a lot of films: The Ghost at Glimmingehus and Dumbom. Bibi had started when she was sixteen."The Ghost at Glimmingehus (En Natt pa Glimmingehus, 1954), directed by Torgny Wickman, had also starred Begnt Logart, Gunnilla Akerrehn, Ingeborg Nyberg and Britta Ulfberg. The Bris Soap commericial, Reklamfilm Bris, in which Bibi Andersson had appeared was one of the last of nine entitled The Princess and the Swineherd (Prinsessan och svinaherden, 1953). The commercials were filmed over a three year period and photographed by cinematographer Gunnar Fischer. In Images, Ingmar Bergman writes, "Later, during the time when movie production was shut down, I put together a series of commercials for the soap Bris (Breeze), and I had alot of fun challenging stereotypes of the commercial genre by playing around with the genre itself and making miniature films in the spirit of George Melies."The Magic Show (Trollenet), starring Lennart Lindberg had appeared in 1952. Lindberg also that year appeared in the commercial The Film Shooting, with Torsten Lilliecrona. Commercials filmed in 1951 had included Bris Soap (Tvalen Bris) with Barbro Larsson and King Gustavus III (Gustavianskt). Barbro Larsson in 1952 appeared in The Inventor (Uppfinnaren) and The Rebus (Rebusen). The Film Shooting (Tredimensionellt), with actress Marion Sundh, was filmed in 1953. Kenne Fant in 1954 directed the film Young Summer (Ung sommar), photographed by Kalle Bergholm and starring Lennart Lindberg, Birgit Lundin and Edvin Adolphson and based on a novel by Per Olof Ekstr?m. Kenne Fant again directed Birgit Lundin in 1956 in the film I takt med tiden, written by Volodja Semitjov and photographed by Olof Ekman. That year Fant also directed The Taming of Love (Sa tukas karleken), starring Karin Ekelund and Jane Friedmann. The film was produced by Nordisk Tonefilm. Eric Hampe Faustman in 1954 directed Gull Natorp, Ulla Sjoblöm, and Marta Dorff in God the Father and the Gypsy (Gud Fader och tattaren) photographed by Swedish cinematographer Curt Jonsson and Annalisa Ericson in the film The Lunchbreak Cafe (Cafe Lunchrasten). Stig Olin in 1954 directed Hasse Ekman in his film The Yellow Squadron (Gula Divisionen) starring Meg Westergren. Dance on Roses (Dans pa rosor, 1954), starring Sickan Carlsson, was written and directed by Schamyl Bauman. Victory in the Dark (Seger i morker), directed by Gösta Folke appeared in Swedish theaters in 1954. Torgny Wickman in 1954 directed Astrid Bodin and Berit Frodi in their first appearances on screen in the film Girl Without a Name (Flicka Utan Namn), photographed by Rune Ericson and written by Volodja Semitjov. The film was produced by Sandrew-Bauman and also stars Karin Miller, Alf Kjellin and Els a-Ebben Thornblad. Swedish silent film director Alf Sjöberg in 1954 wrote and directed the film Karin Mansdotter, in which Ulla Jacobsson, Birgitta Valberg and Ulla Sjöblom appeared. In addition to filming Smiles of a Summer Night (Sommarnattens Leende), in 1955 Ingmar Bergman directed Journey into Autmun (Dreams, Kvinnodrom). Peter Cowie writes that it was Anders Hendrikson that was to appear in the film, the role being written for him untill forfieted and taken by Gunnar Bjöstrand. Scripted by Bergman and photographed by Hilding Bladh, the film stars Eva Dahlbeck, Harriet Andersson, Inga Landre, Niama Wifstrand, Git Gay and Renee Björling. Alf Sj?berg in 1955 wrote and directed the film Wild Birds (Vildfaglar), starring Maj-Britt Nilsson, the cinematographer to the film Martin Bodin. The film is based on the novel Nisse Bortom written by Bengt Anderberg. Anders Henrikson in 1955 directed the film Married (Giftas) in which he starred with Gösta Cederlund, Anita Björk and Mai Zetterling. The film was produced by AB Europafilm. Stig Olin that year directed Ingrid Thulin in the film Hoppsan, Borje Larsson that year directing her in the film The Dance Hall (Danssalongen) with Sonja Wigert. Stig Olin in 1955 also wrote and directed the film Mord, lilla van, photographed by Hilding Bladh and starring Inga Landre and G?sta Cederlund. The first film in which Gio Petre was to appear ,(The Merry Boys of the Fleet (Flottans muntergokar), was in theaters during 1955. Directed by Ragnar Frisk, the film starred Marianne Löfgren, Rut Holm and Rene Bjorling. Ragnar Frisk that year also directed Annalisa Ericson in the film Merry Go Round in the Mountains (Karusellen i fjallen). Gustaf Molander in 1955 directed the film The Unicorn (Enhorningen), starring Sture Lagerwall, Inga Tiblad, Edvin Adolphson and Briger Malmsten, the film's cinematographer Martin Bodin. Schamyl Bauman that year directed Darling at Sea (Alskling pa Vagen), scripted by Solve Cederstrand and Sjuth and starring Sickan Carlsson and Sigge Furst. The Last Form (Sista ringen), directed in 1955 by Gunnar Skoglund, brought George Rydeberg, Marianne Aminoff and Marta Arbin to the screen along with Margareta Henning in what would be her first film appearance. Swedish film director Torgny Wickman in 1955 directed Catherine Berg in her first film, Blocked Tracks (Blockerat spar) with Alf Kjellin and Torsten Ulliecrona. The following year, Bengt Blomgren directed and starred with Gunnel Lindblom in the film Gunpowder and Love (Krut och Karlek, 1956). He followed it with the film Linje sex, starring Margit Carlqvist and Ake Gronberg. Georege Arlin directed his first film that year Bla himmel starring Ingeborg Nyberg, Barbro Larsson, Mim Ekelund and Monica Nielsen.

Finnish film actress Tuija Halonen was bginning to become known to film audiences in 1955 with the film Near to Sin (Lahella Syntia, Nara Synden) directed by Hannu Leminen. The previos year she had starred in the film Enchanted Night (Taikayo), directed by Willaim Markus and based on the 1946 novel by Martti Larni. She would later, in 1959, appear on the screen in Fate Makes its Move (Kohotalo Tekee Siiron) directed by Armand Lohikoski.

Hasse Ekman in 1956 directed the film Private Entrance (Engang ingang), photographed by Gunnar Fischer and starring Maj Britt Nilsson and Bibi Andersson. Rolf Husberg that year directed Anita Bj?k and Brita Oberg in the film Moon over Hellesta (Moln Over Hellesta) Its script is based by the novel Moln over Hellesta, published by Swedish author Margit Soderholm a year earlier. The previous year Soderholm had published the novel Jul pa Hellesta. Photgraphed by Goran Strindberg and starring Maj-Britt Nilsson and Karlheinz Bohm, A Girl for the Summer (Sommarflickan, 1956) was brought to the screen by the directors Thomas Engel and Hakan Bergstrom. Kenne Fant in 1956 directed Eva Dahlbeck in the film Tarps Elin, the film also starring Ulf Palme, Marta Arbin and Fritiof Billquist. Mimi Pollack, who had studied at the Royal Dramatic pAcademy with Greta Garbo. in 1956 directed, The Right to Love (Rattaen att alska), starring Max von Sydow. Gunnar Hellström that year brought Harriet Andersson to the screen in Children of the Night (Nattbarn), starring Birgitta Olzon. Scriptwriter Barbro Boman that year directed the film It's Never Too Late (Det ar aldrig for sent). Gunnar Skoglund in 1956 brought Kristina Adolphson and Catrin Westerlund to the screen in the film Blanande hav. Arne Mattsson that year directed the film Girl in a Dressing Gown (Girl in Tails/Flickan i frack), produced by Rune Waldkranz and scripted by Herbert Grevenius. The films stars Maj-Britt Nilsson, Sigge Furst, Kerstin Duner and Elsa Prawitz. Mattsson also that year directed the film A Little Nest (Litet bo). Bergman writes that the screenplay to The Last Couple Out (Sista Paret Ut, 1956) "had been floating around Svensk Filmindustrustri for a long time in synopsis form." He continues by writing, "Working rapidly, Sj?berg and I started churning out the screenplay for The Last Couple Out, from which Sj?berg later wrote his own version." The earlier title for the script written by Ingmar bergman had been For the Children's Sake. The film, photographed by Martin Bodin and edited by Oscar Rosander, is written around a character portrayed by Bjorn Bjelvenstam, his becoming involved romantically with characters played by Harriet Andersson, who was closing out an affair with Bergman, and Bibi Andersson, who was begining an affair with the director. Added to the plotline is the dialouge between Bjelvenstam and the character portrayed by Eva Dahlbeck. Cowie quotes Alf Sjöberg as having said,"It was an old script and marked an unhappy stage in our collaboration."Last Couple out was the first film in which Mona Andersson was to appear. Having starred in a number of films, including Playing on the Rainbow (Lek pa regnbagen, Lars-Eric Kjellin 1957), a film written by Vigot Sjöman and photographed by Gunnar Fischer in which he co-starred with Mai Zetterling, Alf Kjellin wrote and directed A Girl in the Rain (Flickan i regnet) with Gunnel Lindblom, Pia Skoglund, Bibi Andersson and Marianne Bengtsson in the first film in which she was to appear as well as directing Twilight Meetings (Encounters at Dusk/Moten i skymningen (1957), based on a novel by Pers Anders Folgelstrom, with Eva Dahlbeck , Birger Malmsten and Ake Gronberg, the scriptgirl to the film having had been being Katherina (Katinka) Farago and the cinematographer again having had been being Gunnar Fischer. Arne Mattson that year directed Spring of Life (Livets Var) and No Tommorow. The following year he directed There Came Two Men, The Lady in Black (Damen i svart), with Anita Bj?rk, a film shot mostly in interior scenes with the use of low-key lighting, and Mannequin in Red (Mannekang i rott), with Rune Carlsten and Anita Bj?rk. Hasse Ekman in 1957 directed Eva Dahlbeck, Bibi Andersson and Gunnar Bj?nstrand in A Summer Place is Wanted (Summer Cottage, Sommarnoje sokes). He also that year directed With a Halo Askew (Med gloria pa sned) with and Sture Lagerwall. Arne Ragneborn in 1957 directed Ingrid Thulin in the film Aldrig i livet. Stig Olin that year directed Guest at One's Own Home (Gast i eget hus) with Monica Nielsen and Anita Bj?rk. Lars-Magnus Lindgren in 1957 directed the film A Dreamer's Walk (En drommares vandrig, photographed by Sven Nykvist and starring Margit Carlqvist, Jarl Kulle, Keve Helm, Inga Landre, Linnea Hillberg and Brita Oberg. Also appearing in the film is Eric Hell. Hans Lagerkvist in 1957 directed the film The Rusk (Skorpan), photographed by Martin Bodin and starring Marianne Bengtsson, Anna-Lisa Baude and Fritiof Billquist. Marianne Bengtsson that year also appeared in the film Night Light (Nattens ljus), directed by Lars-Eric Kjellgren and photographed by Ake Dahlqvist. Gunnar Bjornstrand and Birger Malmsten star with Bengtsson. Written and directed by Goran Gentele, Varmlanningarna (1957), was photographed by Karl-Erik Alberts. Not only does the film star Busk Margit Jonsson, Marta Dorff and Marta Arbin, but Greta Garbo biographer Fritiof Billquist also appears in the film. Swedish film director Ingmar Bergman and the present author feel very much the same about the film The Brink of Life (Nara livet 1957). In his autobiography, Images, Bergman writes, "I sat watching the same film years later in the darkness, alone and influenced by no one....When the movie ended, I sat there, suprised at myself and a little annoyed- I suddenly liked the old film." While explaining Bergman introduces the film as a story written around three characters, these being portrayed in the film by Eva Dahlbeck, Bibi Andersson and Ingrid Thulin. He describes it as "warm, honest and intelligently done, with first-class performances." He also gives a nod to Max Willen, the film's cameraman, who during the filming was "an adequate craftsman without any sensitivity". Peter Cowie writes, "Brink of Life is the first of those Bergman movies in which dialog and characterization take precedence over scenery and locations." Norwegian Film director Arne Skouen in returned to directing in 1957 with the film Nine Lives (We Die Alone/ Ni liv) produced by by Fotorama and photographed by Ragnar Sorensen. The film stars Lydia Opoien, Henny Moan and Grete Norda. He continued the following year by directing A God and His Servants (Herren og hans tjener, 1958) based on the 1955 play by Axel Kielland. The film, photographed by Finn Bergan, stars Urda Arneberg, Anna-Lise Tangstad and Wenche Foss. In 1958 G?sta Stevens and Hasse Ekman co-scripted two films that were directed by Ekman, The Great Amateur (Den Store amatoren), with Marianne Bengtsson, and Jazz Boy (Jazzgossen), in which he starred with Maj-Britt Nilsson and Alice Babs. Goran Gentele in 1958 brought Lena S?derblom to the screen in the film Miss April (Froken April), in which she starred with Gunnar Bj?rnstrand. Froken April was the film that would introduce Swedish actress Gunilla Ponten. In 1958, Jan Molander directed Harriet Andersson in Woman in Leopardskin (Kvinna i leopard), which, adapted from his own screenplay, was his debutorial film as a director. The film also stars Ulf Palme, Renee Bjorling, Siv Ericks, Mona Malm. Stig Olin that year directed Andersson in Commander of the Navy (Flottans overman). Stig Olin that year Obrought the film You are My Adventure (Du ar mitt aventyr) to the screen. Greta Garbo biographer Fritiof Billquist appeared on screen with Astrid Bodin, Ann-Marie Gyllenspetz, Git Gay and Ulla-Bella Fridh in the film Travel to Sun and Spring (Far Till Sol och Var), directed by Lars-Eric Kjellgren and photographed by Martin Bodin In 1959 Hasse Ekman directed the films Good Heavens (Goodnes Gracious/Himmel och pannaka) and Miss Chic (Froken Chic), both starring Sickan Carlsson and co-scripted by G?sta Stevens. Both films were photographed by Martin Bodin. Alf Kjellin that year returned Alice Babs to the screen in the film Swinging at the Castle (Det svanger pa slottet, which also starred Yvonne Lombard and Lena Granhagen. Goran Gentele in 1959 brought Jar Kulle and Lena Söderblom to the screen in the film The Theif in the Bedroom (Sangkammartjuven. In 1959 Arne Mattsson directed Rider in Blue (Ryttare i blatt), the first film in which the actress Solveig Ternstr?m was to appear, and Lend me your Wife (Far jag lana din fru?), with Annalisa Ericson. In 1960, Mattsson directed When Darkness Falls (Na morkret faller) with Nils Asther and Birgitta Pettersson and Summer and Sinners (Sommar och sydare) with Gio Petre, Yvge Gamlin and Elsa Prawitz. In 1961, he followed with The Summer Night is Sweet (Lovely is the Summer Night, Ljuvlig ar sommarnatten), photographed by Tony Forsberg and starring Marta Albin, Elsa Prawitz, Tekla Sjoblom and Christina Carlwind in her first appearance on the screen. Kenne Fant in 1959 directed the film The Love Game (Den kara leken) with Bibi Andersson, Sven Lindberg and Lars Ekborg, his following it in 1960 with The Wedding Day (Brollopsdagen), in which Bibi Andersson stars with Elsa Carlsson. Both films were photographed by Swedish cinematographer Max Wilen. Alf Sj?berg in 1960 directed Ingrid Thulin and Mona Andersson in the film The Judge (Domaren), the film's cinematographer Sven Nykvist. That year Rolf Husberg directed the films Av hjartans lust and Tarningen ar karstad starring Anita Bj?rk and Gio Petre. Hasse Ekman in 1960 wrote and directed both The Decimals of Love (Karleckens decimaler), based on a novel by G?sta Gustaf-Jansons and starring Eva Henning and Eva Dahlbeck and On the Beach in the Park (Pa en bank i park), in which he starred with Lena Granhagen and Sigge Furst. Helena Brodin appeared in her first film in 1960, Three Wishes (Three Desire/Tre Onskningar). Directed by Goran Gentele, the film also starred Eva Dahlbeck and Mimi Nelson. After having directed the film The Pleasuregarden (Lustgarden, 1961), a film scripted by Ingmar Bergman and Erland Josephson, photographed by Gunnar Fischer and starring the "polished performances" (Robert Emmet Long) of Bibi Andersson, Gunnar Bj?nstrand, G?sta Cederlund and Sickan Carlsson, Alf Kjellin directed Harriet Andersson in his film Siska-en kvinnobild, in 1962. The film was photographed by Gunnar Fischer. Ragnar Frisk directed Anita Lindblom in We Fix Everything (Vi fixar allt) in 1961, in Tre dar i buren in 1963 and again in Three Days A Vagabond (Tre dar pa luffen) in 1964. Vi fI'm ixar allt was the first film in which the actress Anna Sundqvist was to appear. Also in the film is Swedish actress Sangrid Nerf. Hasse Ekman in 1961 directed the film The Job/Braces (Stoten) with Gunnar Hellstrom, Tor Isedal, Maude Adelson and Ann-Mari Wiman. That year the first film directed by Lars Magnus Lindgren, There are no Angles (Anglar, finns dom) was to star Christine Schollin and Margit Carlqvist. During 1962, Sandrew Film produced the film One Zeroe Too Many (En Nolla For Mycket) directed by Bjorje Nyberg and photographed by Hilding Bladh. The film stars Birgitta Andersson, Toivo Pawlo, Mona Malm and Lill-Babs.

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101. https://web.archive.org/web/20210523033024/https://sites.google.com/site/scottlordinlovenewnovel/system/app/pages/recentChangesOutlink

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Save Page Now capture results created on 2021-05-23 03:48:23 UTC.

We found 101 URLs, saved 100 and encountered 1 errors.

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85. https://web.archive.org/web/20210523034428/https://scottlord34.blogspot.com/2021/05/scott-lord-mystery-sinister-hands-1932.htmlFirst ArchiveOutlink
86. https://web.archive.org/web/20210523034358/https://scottlord34.blogspot.com/2021/05/tangled-destinies-strayer-1932.htmlFirst ArchiveOutlink
87. https://web.archive.org/web/20210523034448/https://scottlord34.blogspot.com/2021/05/television-art-lifebuoy-soap-plus.htmlOutlink
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89. https://web.archive.org/web/20210523034556/https://scottlord34.blogspot.com/search/label/Scott%20Lord%20Mystery%20filmFirst ArchiveOutlink
90. https://web.archive.org/web/20210523034346/https://scottlord34.blogspot.com/search/label/Scott%20Lord%20Sherlock%20HolmesFirst ArchiveOutlink
91. https://web.archive.org/web/20210523034454/https://scottlord34.blogspot.com/search/label/Silent%20Film%20Scott%20LordFirst ArchiveOutlink
92. https://web.archive.org/web/20210523034400/https://scottlord34.blogspot.com/search/label/scottlordFirst ArchiveOutlink
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94. https://web.archive.org/web/20210523034345/https://scottlordnovelist.blogspot.com/Outlink
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96. https://web.archive.org/web/20210523034344/https://scottlordswedishsilentfilm9.blogspot.com/Outlink
97. https://web.archive.org/web/20210523033024/https://sites.google.com/site/scottlordinlovenewnovel/system/app/pages/recentChangesOutlink
98. https://web.archive.org/web/20210523034347/https://sites.google.com/site/silentfilmsweden/system/app/pages/recentChangesOutlink
99. https://web.archive.org/web/20210523034345/https://sites.google.com/site/swedishsilentfilmscottlord/system/app/pages/recentChangesOutlink
100. https://web.archive.org/web/20210523031121/https://www.blogger.com/profile/06987400831204562507Outlink
101. https://web.archive.org/web/20210523034345/https://www.youtube.com/user/victorseaful/aboutOutlink

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Save Page Now capture results created on 2021-05-26 21:01:29 UTC.

We found 48 URLs, saved 47 and encountered 1 errors.

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6. http://gretagarbosilent.blogspot.com/ Error! Cannot fetch the target URL due to system overload.
   
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Scott Lord

Scott Lord Swedish and Silent Film

I came across the complete entire issues of the Strand Magazine and, although most of us are familiar with Sidney Paget's illustrations of The Adentures of Sherlock Holmes, I would like to reprint  another short story written by Arthur Conan Doyle that appeared in the periodical before the turn of the century, The Lord of Chateau Noir.

SCOTT Lord

Silent Sherlock Holmes

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Victor Seastrom

July 10, 2021, 10:12 pm

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VICTOR SEASTROMVICTOR SJOSTROM

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Welcome to Blacklight Castle.

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Charlie Chans Secret

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SILENT FILMSILENT FILMSILENT FILMSILENT FILMSILENT FILM

Boris Karloff- BlackFriday

August 13, 2021, 6:10 pm

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Sherlock Holmes The Man WithTheTwisted Lip

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SILENT FILM

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August 18, 2021, 2:16 pm

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SILENT FILM

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Universal Sherlock Holmes Trailers

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Mystery

Silent Sherlock Holmes

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Silent Sherlock Holmes

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Basil Rathbone as Sherlock Holmes

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Please add this additional feature:

Scott LordScott Lord

Silent Sherlock Holmes starring Ellie Norwood

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Scott Lord: Silent Film

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Please feel invited to screen these two Danish Silent Films Silent FilmSilent Film

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Swedish Silent Film: Synnöve Solbakken (Brunius, 1919)

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Silent Film: (Hårda viljor (Brunius, 1923)

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Silent Film: Gustaf Wasa (Brunius, 1928)

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Swedish Silent Film: Synd (Gustaf Molander, 1928)

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Swedish Silent Film: Gyurkoricsarna (John Brunius, 1920)

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Svenska Filminstitutet

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All About Swedish Film

Swedish Film Institute (Svenska Filminstitutet) general manager Cissi Elwin on July 30, 2007 placed a condolence book in the foyer of the Swedish Film Institute for director, screenwriter and author Ingmar Bergman, who has left Sweden and a new generation of filmakers a legacy of some of the most remarkable films of the Twentieth Century. Although the films of Ingmar Bergman have in recent years brought attention to Swedish cinema, the films of Victor Sjöström and Mauritz Stiller (The Saga of Gosta Berling, 1925, ten reels), directors at Svenska Bio, John W. Brunius, director for Skandia Film, the company that merged with Svenska Bio to form Svensk Film Industri in 1919, George af Klerker, director for Hasselbladfilm, Gustaf Molander (Only One Night, En enda Natt, 1939), Hasse Ekman, Ivar Johansson (Ragen rike, 1929), Hampe Faustman, Arne Mattsson, Mai Zetterling, Claes Olsson (Amazing Women by the Sea), Swedish film director Bjorn Runge (Order of Love, Mun mot mun, 2005-6), Swedish film director Colin Nutley (Paradise) and Liv Ullmann, are only some of those included in the canon of modern and contemporary cinema. Dreyer, Christensen and Dinesen all made silent films in Sweden. Less well known internationally, younger directors are gradually emerging from Sweden now that the films of Vilgot Sjöman, Bo Widerberg and Jan Troell have recieved the recognition that they have from audiences and directors alike: Ulf Malmros (God Save The King, Tjenare Kungen, 2005) and Swedish film director Martin Asphaug (Kim Novak Never Swam in Genesaret's Lake, Kim Novak badade aldrigi Genesaret's sjo) are included among the contemporary filmakers behind the camera in Sweden. To these, the names of Swedish film director Lasse Hallstrom (Casanova 2005, An Unfinished Life 2005, Daughter of Queen Sheba 2006) and Josef Fares (Zozo, 2005) can be added. Recent Shooting Stars include the actresses Frida Hallgren (2005) and Eva Rose (2006). In early 2007, Swedish Film Director Jan Troell began filming Maria Larsson's Everlasting Moment (Maria Larssons eviga ogonblick) with actress Maria Heiskanan scheduled to star in the film. The screenplay was adapted from the novel written by his wife, Agneta Ustater Troell. The premiere of the film You the Living (Du levande), directed by Roy Andersson, was in Sweden during the first week of September, 2007. Lukus Moodysson had been scheduled to begin shooting the film Mammut (Mammoth) during October of 2007. August of 2007 ended with the Swedish Film Show Me Love and the Swedish Film Lilya 4 Ever both available in their entirety through the digital screening room of the internet. Mammut, under production for 2009, was also written Moodysson and stars actresses Michelle Williams and Marife Necesito. The film's photographer is Marcel Zyskind.   One woman that worked closely with Ingmar Bergman, Katinka Farago, ended the twentieth century as a film producer, ushering in this century by producing films by Kjell Grede (Make Believe, Kommer Du Med Mig) and Reza Bagher; after beginning as an assistant script girl on two films in 1950, Farago was script girl on three films in 1953 for the directors Stig Olin, Bengt Logart and Gunnar Skoglund, her then continuing as script girl after the lull in Swedish film production. She appears in the film Ingmar Bergman Makes a Film (Ingmar Bergman gor en film, Sjöman, 1963). Before Ingmar Bergman began working with Farago, he had in fact worked with several scriptgirls, included among them being Gun Holmgren, Ulla Kihlberg, Gerd Osten, Ingegerd Ericson and Sol-Britt Norlander. Early script girls for the Swedish Film Institute included Clary Brojesson and Vanja Dahlgren. Katinka Farago introduced the film Shame (Shammen, 1967) when screened at the Cinemateket during the Copenhagen Film Festival, September 2007. It was as an assistant to the scriptwriting department at Svenska Filmindustri that Ingmar Bergman had first been introduced to Swedish cinematographer Gunnar Fischer; albeit both Fischer and Bergman were together in the office of Stina Bergman, Ingmar Bergman left almost without saying a word during their first encounter. Among the contemporary Swedish playwrights that will mark Ingmar Bergman's long involvement with the stage with the theater that is now emerging is Lars Noren, director of Riks Drama at Riksteatern, whose play was adapted for the screen by director Kristian Petri for the film Detaljer and what now is to be the Swedish Theater after Bergman is already quickly being carried by two notable actresses, both of whom may return to the film screen, Maria Bonnevie, who appeared in Thommy Berggren's 2005 theatrical run of Strindberg's Froken Julie, and Julia Dufvenius, who is appearing on stage in Bodil Malmsten's play Tryck stjarna. Jon Asp of Ingmar Bergman Face to Face emailed an announcement that Autumn Sonata was the first "photoplay", or shootingscript, of Ingmar Bergman's to be performed on stage in Swedish, it having been dramatized for the theater during August of 2007 at the Svenska Teatern. The first two plays written by Ingmar Bergman, The Day Ends Early (Dagen slutar tidigit) and To My Terror (Mig till skrack), were directed on stage by him in Gothenburg in 1947. Peter Ustinov had directed Torment in English in 1947. Interestingly, although it had been expected that Liv Ullmann would primarily be continuing as a film director after her having returned in front of the camera of Ingmar Bergman, if there is a soft beam that that has become familar from her being seen while interviewed, then it very well may have been present during her announcement that not only has she returned to Norway, but that she has also returned to acting, her having been offered a role in the film In a Mirror, In A Riddle, slated to begin shooting in Oslo under the direction of Jesper Nielsen during November of 2007. Liv Ullmann had filmed under two Norwegian directors that had passed away while Ingmar Bergman had begun entering the retirement of his last completed film; Arne Skouen, who directed Ann-Magrit and Edith Calmar, who directed the films Fools on the Mountain (Fjols till fjells/Fjells, 1959) and The Wayward Girl (Youth on the Run, Ung Flukt, 1959), both photographed by Norwegian cinematographer Sverre Bergli. After having starred in Tancred Ibsen's 1949 film Den Hemmelighetsfulle Leiligheten, Edith Calmar directed the films Death is a Caress (Doden er kjaertegen, 1949), adapted from a novel by Arne Moen and starring Ingolf Rogde and Gisle Straume and the film Skakeskutt (1951), starring Eva Bergh. Of the utmost importance is an appreciation of film, film as a visual literature, film as the narrative image, and while any appreciation of film would be incomplete without the films of Ingmar Bergman, every appreciation of film can begin with the films of the silent period, with the watching of the films themselves, their once belonging to a valiant new form of literature. Silent film directors in both Sweden and the United States quickly developed film technique, including the making of films of greater legnth during the advent of the feature film, to where viewer interest was increased by the varying shot legnths within scene structure, films that still more than meet the criteria of having storylines, often adventurous, often melodramatic, that bring that interest to the character when taken scene by scene by a modern audience. During the advent of sound film, films that would not have contained dialougue jaugernautted themselves into the literature of the positioning of actors both in the background of the shot and edited into sequence and beneath the microphone with the varying distances that comprise the use of shot reverse shot series and suture, the transition from one shot to the next now based more often upon the dialouge between characters- films that would develop the relationships between characters through what was spoken between them in a visual literature and ,at the same time, films that would delay the use of the color tinting of film untill the development of technicolor. What would continue from silent to sound was not only the use of the close up, but that the spatial relationships between characters in the dialouge scene would include not only the nearness of two characters to each other during sequences that included the shot reverse shot series and the space delineated in any wider angles, but by including the distance at which characters were positioned from each other, it would change any otherwise empty space that happened to be bewteen them into the silent act of their looking at each other, establishing, much as the silent film had using a variety of forms of montage, the recipriocity of the gaze within the editing of the film. Included among the films listed by the Ingmar Bergman Foundation as being the directors favorites are the early Swedish sound films Soderkakar (Weyler Hildebrand, 1932) and Karl Fredrick regnar (Sigurd Wallen, 1934), as are the Swedish Films Karriar (Schamyl Bauman), 1938) and Ett brott (Anders Henrikson, 1939). The restoration of the film Night Music (Nattliga Toner, 1918, Hasselbladfilm), directed by George af Klerker, was personally funded by the director Ingmar Bergman. To present, the films of Sweden continue to contribute to the making of film being a creating of a form for the presentation of the content belonging to new and arising literatures, literature in front of the camera that is transcribed into screen literature. SF logo:Bonnier

Early in her career, Ingrid Thulin had been photographed by several of Sweden's directors: Ake Ohberg, Bengt Logardt, Gosta Werner, Goran Gentele, Rolf Husberg, Stig Olin, Gunnar Hogland, Per Gunvall and Björje Larsson. Both Thulin and Gunnel Lindblom have directed. Ingrid Thulin died early in January, the Associated Press having sent a report of her death January 9, 2004. Notably, Ingrid Thulin had starred with Eva Dahlbeck and Bibi Andersson (Elina-som om jag inte fanns) in the film Brink of Life (Nara Livet, 1958). Thulin directed the 1965 short film Hangivelsen, starring Maud Hansson, Meta Velander and Allan Edwall. Ase Kleveland, then director of The Swedish Film Institute, as well as Swedish Television svt.se, announced the death of Ingrid Thulin's husband, Harry Schein, February 11, 2006. Harry Schein was among those directors, including Finn Aaby of the Danish Film Institute, Egil B. Fonn of Norway and Karl Uusital of Finland, that sought for a bringing together of the Swedish Film Institute and the Film Insitutes of Scandinavia through Nordic film festivals. Schein was the author of Har vi rad med Kultur (1962). An e-mailed newsletter from Norway reported that one of Sweden's legendary directors, Hasse Ekman,died February 15, 2004. Ekman had begun acting at the Folkan Theater in Stockholm in 1932. The actor Gosta Ekman had been the assistant director to the films Wild Strawberries, Brink of Life and The Magician. His film Asta Nilsson's Company (Asta Nilsson's sallskap, 2005), was co-directed with Marie-Louise De Gree Bergenstrahle, Marie-Louise Ekman, to whom he is married. Tomas Boman photographed the film in which the director stars with Sven Lindberg. Ekman appears as an actor in the film Jag tanker pa mig sjalv-och vanstrum (Maria Rydbrink, 2005) and in the film Loranga, Masari & Dartanjang (Igor Veishtgin, 2005). In Sweden, the Hasse Ekman award was given to screenwriter Peter Dalle at the Goteborg Film Festival 2005. The Associated Press noted the death of Swedish film director Vilgot Sjöman, who passed away on April 9, 2006. Of the cinematographers that filmed with Ingmar Bergman, Goran Strindberg, Hilding Bladh and Martin Bodin are mostly known for having photographed with directors other than Bergman. Of the two principal cameramen that had filmed with the director, Gunnar Fischer and Sven Nykvist, the latter was internationally renown for the use of lighting during the films made by Ingmar Bergman. The associated press noted the passing of Sven Nykvist on September 20, 2006. An e-mailed newsletter from Norway marked the passing of Nykvist by announcing that in November, The Stockholm International Film Festival will be dedicated to the cinematographer. The first film photographed by Lasse (Lars) Swanberg was a short film for director Bertil Sangren, Extensions (1965); Swanberg continued as cinematographer on short films with Swedish film directors Carl Henrik Svenstedt, Sverker Hallen, Stig Holmqvist, Lennart Malmer and Jonas Cornell, with who he made the feature films Som natt och dag in 1969 and Grisjakten in 1970. Cinematographer Lasse Swanberg died on October 3, 2006. To end the year 2006, Jon Asp, editor of the Ingmar Bergman Face to Face webpage, e-mailed an update announcing the December 19, 2006 death of Swedish actress Maj-Britt Nilsson. Nilsson appeared in the films Summer Interlude (Sommarlek, 1950) and Waiting Women (Kvinnors vantan, 1952), directed by Ingmar Bergman. "I believe a human being carries his or her own holiness, which lies within the realm of the earth; there are no other worldly explanations." Ingmar Bergman, Images. Shorly after his birthday, it was announced that director Ingmar Bergman had died, July 30, 2007. Ase Kleveland was quoted by SvD.se as having said, "There will be enormous void." Earlier during the month, Swedish film actress Git Gay, who had appeared in several films from 1949 to 1968 beginning with Lattjo med Bocaccio, had also passed away- she was included among the actresses in Ingmar Bergman's film Kvinnodrom (Dreams, 1954), starring Eva Dahlbeck, who passed away early during the year, 2008. Streamed over the internet, online film from Sweden is presently offerred by glimz.net and short Swedish Films have been offerred recently online from Paradiso as well. In addition to this, Folkets Bio screens short Swedish films not only in Stockholm, but in theaters open across Sweden, including Hagabion Gothenburg and Kino and Södran Lund. There is no cost of admission to these short films. Film criticism has added the videomagazine to theater going and the screening room ritual of viewing rushes since the writing of Sweden's Robin Hood and his protogee film historian Rune Waldekranz, online televison and webcasting now part of the internet, Sweden, Finland, Denmark and Norway being only part of international webbroadcasting. Modern film can be seen on Swedish Television on TV1000 - aired continuously, the broadcasting includes not only classic narrative films that are well known the audiences in the United States from arthouses or their first run but also films of exceptional quality that were only introduced to viewers in the United States during the advent of Cable Television. A log in registration is presently required for TV-4-Webb-tv from Sweden and for kanal5 from Sweden. There is also a Webb-tv section in the Swedish publication Centidnigen Nummer, published in Stockholm. In the United States, the film Brink of Life, directed by Ingmar Bergman, is presently one of the films that can be viewed over the internet through stream video. Svenska Filmsamfundst, the Swedish Film Society, introduced themselves to Swedish audiences in 1933 in a Svensk Filmindustri newsreel; allowing them to do so now over the internet, "on the following webpages you will find more that 50 streamed films, some of them more than 20 minutes long", their project being to digitalize short Swedish films to cataloge them for historical research, the talent and dedication behind the Swedish Film Society being from both Swedish Television and the Swedish National Archive of Recorded Sound and Moving Images. It cannot be overlooked that under a section entitled Early Film Fragments, the Swedish Film Society offers an online screening of one of the early films of Charles Magnusson, filmed in 1908, which can be included as part of his short participation in what could have been a cinema of attraction before his having established the tradition of narrative and the tradition of an inscription of place through the use of exterior locations in Swedish cinema. In regard to the contribution of Charles Magnusson to the history, Bengt Forslund records, and records only, "In 1905, together with a friend, he took over the Gothenburg Cinematograph, where he also showed his own newsreels and in the following year he opened his first cinema, 'The Crown', which is still in use. He also began importing films." To complement this, in in its Journalfilmarkivet, under its video section, svt.se offers newsreels footage online in stream video, some shot in the United States as early as 1915 and including Thomas A. Edison. To punctuate that within the first decade of this century there is simultaneously a growing dedication to the finding of lost films and thier preservation as well as seldom seen films being made available over the internet along with films that digatally have their first run, among the films available online from Sveriges Television AB is a copyrighted digital screening of How To Dress, the first on screen appearance of the Swedish actress Greta Gustafsson, spliced to "piknic i det grona", < a href="http://garbo-seastrom.blogspot.com">Greta Garbo

being among the four women filmed in a series of exterior shots near a pond.
Magazines on film from Sweden have included Chaplin, under Bengt Forslund (The Air Case, 1972), Lars Olaf Lothwall, Stig Björkman and Jannike Ahlund, Tekniskt Meddelande (Technology and Man), under Lars Svanberg, Filmjournalen, under Gunilla Holger and Swedish Film News Bulletin. Chaplin Magazine editor Bengt Forslund, a member of the Swedish Film Academy since 1965, has since authored the volumes Molander, Molander, Molander and Swedish Queens of the Silver Screen. Jonas Sima, who wrote for the magazine as a film critic between 1966-1973, is included among the contributers to Chaplin Magazine. Filmkonst Magazine in 2004 awarded its Golden Dragon to Lena Dahlberg for her editing of the film Daybreak; the publication, founded by Gunnar Bergdahl (The Voice of Bergman), is presently edited by Camilla Larsson. Other magazines on film from Sweden include Filkrets, a publication located in Stockholm, Ingmar, Film Rutan and Film International, formerly Filmhaftet, presently edited in Lund, Sweden. The first issue of Nordisk Filmtidning was published in 1909. Among the Swedish magazines that had sections devoted to film in which articles on Greta Garbo appeared from between 1925-1975 and which were among those issues recently donated to the Garbo Society in Hogsby, Sweden, were of Avet Runt, Svensk Damtidning and Hemmets Veckotidning. The Swedish Film Institute has in the past made several publications available to readers, including the quarterly Zoom Magazine and Technik and manniska, under Susanne Roger.
After seven issues avaible in English in PDF form, Made in Sweden during May of 2006 for its eighth issuse changed its name to Swedish Film, A Magazine from the Swedish Film Institute. It is published four times a year. Publisher of the magazine Made in Sweden-Swedish Film and the newsletter Vidvinkel Europa, The Swedish Film Institute is located in Stockholm, its managing director recently having had been being Ase Kleveland. Previous directors of the Svenska Filminstitutet have included Harry Schein, the longtime love of Swedish actress Ingrid Thulin. Ase Kleveland, in a November 2005 press conference, announced that she will be welcoming a new managing director of the Swedish Film Institute during May 2006. Although born in Stockholm, Ms. Kleveland has been commuting to and from Olso during the weekend for six years. At first she had not related what would be next for her other than that she would be going home, but a newsletter e-mailed from Oslo, Norway has since announced that Kleveland is scheduled in August, 2006 to become the director of Rikskonsertene, which she is pleased about because of how near it will be to her.

One name known to readers of Swedish magazines will continue in the participation of making Swedish film; kind regards can be sent to Cissi Elwin, who had been editor of the publication Ica-Kuriren since the new millenium had marked the turn of the century and who during late March, 2006 was appointed managing director of the Swedish Film Institute, replacing Ase Kleveland on the first of August. Elwin is the daughter of Göran Elwin, Swedish journalist and producer for Sveriges Television, where daughter Cissi first became acknowledged by Swedish audiences. The chairman of the Swedish Film Institute is presently Hakan Tidlund. Apparently no one was more suprised at the appointment than Elwin herself, which comes at a time when among the first things the new general manager will be addressing is a directive that 40% of film made in sweden now be directed by women. Editor-in-chief Staffan Gronberg has left the Swedish Film Institute. In welcoming Pia Lundberg to the position, Cissi Elwin stressed the improtance of SFI being an international body in its bringing the films of Sweden to new audiences.

The Swedish Film Institute had screened a complete series of the films of Victor SjostromP, including his first film The Gardner (Tragardsmastaren, 1912), from the beginning of October untill November 26, 2003 at the Film House (Cinemateket) in Stockholm. Hailed by the British Film Institute as Cinema's First Master, Victor Sjostrom, while in the United States, was to direct the first feature silent film released by Metro Goldwyn Mayer,He Who Gets Slapped (seven reels, 1924), starring Lon Chaney Norma Shearer and Jack Gilbert. Between September 3 and October 27, 2004 the Cinematecket hosted the films of D. W. Griffith. Among the films shown at the Filmhuset in Stockholm were The Lady and the Mouse (1914)In the Border States (1915), A Country Cupid (1915), The Painted Lady (1915) and Judith of Bethulia (Judit och Holofernes). Griffith, along with Thomas H. Ince, director of Civilization (1916), was one of the foremost pioneers of silent film technique, particularly the feature film, in the United States. The silent film Intolerance was screened as part of the Pordenone Silent Film Festival, held between Oct 8-15, 2005. In previous years, the Cinemateket in Stockholm has screened the films of Mauritz Stiller, it having published with Svenska Filminstitutet the volume Moderna motiv- Mauritz Stiller I retrospektiv, under Bo Florin, to accompany the screenings. Bo Florin and the Cinemateket have also published Regi: Victor Sjöström= Directed by Victor Seastrom with the Svenska filminstitutet. The title of the Ingmar Bergman-Svenska Filmindustri film Wild Strawberries, in which Victor Sjöström stars, was lent to Svenska Filminstitutet for its Filmbutiken, Smultronstallet, den svenska filmbutiken, as a publication of its Filmhuset in Stockholm. Interestingly enough, the Irish Film Institute , which regularly sends an e-mailed newsletter containing its schedule, has named its classic film series after the Victor Sjöström film Wild Strawberries as well. Borgvagen 1 is also the home of Biografen Victor, a theater with 364 seats named after Victor Sjöström. There are two smaller theaters, one with 133 seats named after Mauritz Stiller and one with 14 seats named after Julius Jaenzon, cameraman for Svenska Bio. Of the films that have been shown at Bio Victor, particularly of interest are Blackjackor (Rolf Husberg, 1945) and Froken Chic (Hasse Ekman, 1957). The Cinemateket was originally The Swedish Film Archive (Svenska Filmsamfundet), begun in 1933 and untill Harry Schien having had become the director of the Swedish Film Institute it was named Filmhistorika samlingarna. Are You Playing Tonight? (Spelar du ikvall?) was the name of a series of films shown at the Cinemateket starring the actor Erland Josephson, accompanied by an essay by director Torben Skjodt Jensen and director Ulf Peter Hallberg. Cissi Elwin will be greeting Swedish cinematographer Gunnar Fischer at the Filmhuset to end the first week of October 2007 during a film series to honor Ingmar Bergman entitled Long Live Bergman (Lang leve Bergman). Also present will be actress Harriet Andersson. The centennial of Danish silent film has brought more than occaision to mark the more than sixty years of Det danske Filmmuseum, now the Cinematheque of Det Danske Filminstitut. A Woman's Duel (Rivalander), a silent Danish film photographed in 1906, was screened at the San Francisco Silent Film Festival on December 1, 2007. The Women and the Silent Screen series at the Cinemateket in Stockholm, held between June 11-13, 2008 will include the Danish silent film Love or Money (Kaelighed og penge), directed by Leo Tschering and starring Else Frolich. The film was produced in 1912 by Nordisk Films Kompagni. The Sweden Film Commission is also located in Stockholm, in the Filmhuset, and is available to film crews that are planning to shoot on location in Sweden. The Sweden Film Commission offers an e-mailed newsletter to subscribers. Among the articles recently included on the webpage of the Sweden Film Commision was an announcement of the election of Ase Kleveland to the European Digital Cinema Forum. In August of 2005, Ase Kleveland addressed the IFLA in Oslo, Norway in regard to the role of digital cinema as a contemporary literature and the importance of new technologies to modern culture; one of these signs of new technology is the forthcoming opening of Spanga Folken in Stockholm, a movie theater built in 1939 that is to screen films shot digitally. Borgvagen 5, Stockholm houses the Swedish Women's Film Association and also located in Stockholm's Film House, the Filmhuset, is the Sveriges Filmproducenter. Swedish directors that had participated in the 2003 annual conference at The Film House in Stockholm (April24-26) had included Maria von Heland (Move, Flyt), Manne Lindwall, Lisa Ohlin (Seeking Temporary Wife, Tillfallig Fru Sokes) and Cecilia Neant-Falk, where among those that had visited the Film House during the 2004 conference (April 23-25) were Carl Johan de Geer, Jens Jonsson and Tova Magnusson Norling. In the Filmhuset of the Swedish Film Institue is a conference area, named The Arena, where directors and screenwriters meet regularly. In addition to distributing contemporary Swedish films, Filmcentrum, located in Stockholm, distributes many classic Swedish films and publishes Film and TV. The Swedish Institute in Stockholm, which presently offers a publishing house as well as an information service and an image bank with photos for publication, can be visited at Skeppsbron 2. Its director general is presently Erland Ringborg. The Swedish Film Institute, premiered a collection of private films from Ingmar Bergman's home and office entitled Before Ingmar Became Bergman (Innan Ingmar blev Bergman) in Helsinki on August 27, 2003. Included in the exhibition was the first magic lantern of Ingmar Bergman, a cinematograph given to his as a Christmas present, as well as the film Karin's Face (Karin's ansikte), a film comprised of photographs of the film director's mother. While describing the projector, Ase Kleveland has been quoted by the Associated Press as having said, "This cinematograph made Bergman interested in movies. He has talked about it in his books and it is also a central theme in some of his films." It is certain that in some way the pioneer Victor Sjöström is watching the Stockholm of Charles Magnusson while Ingmar Bergman is at Faroe; the movie projector had disappeared during a recent exhibition, only to be found later in an unthought of location. A vernissage of the exhibition will be included at the Filmhuset of the Swedish Film Institute in Stockholm during its October 6-7, 2007 film series on Ingmar Bergman, Long, Live Bergman. The Swedish Film Institute offers an e-mailed update of its webpage. Jan Holmberg has been selected to manage the Bergman Interface, a website that will offer a filmography of the films of Ingmar Bergman. Editors Jan Holmberg and Mathias Rosengren sent the first updates of the emailed in English newsletter announcing the launching of the website and the appearance of its English version as having had been being May of 2006, it originally having had been being scheduled to appear in January. The emailed newsletter to the webpage includes a News in brief section summarizing recent news centering around Swedish Film director Ingmar Bergman. The Ingmar Bergman Face to Face webpage includes not only stills from many of the director's films, but also many of their trailers, in addition to film clips and footage of Ingmar Bergman introducing several of the films, including A Lesson in Love and Autmun Sonata. Jan Holmberg is currently the head of programming at Cinemateket at the Swedish Film Instititute. Ingmar Bergman has finished filming the last sequence to his film Saraband which was aired on Swedish television by pubcaster SVT; an e-mailed newsletter had announced its premiere as having had been being December 1, 2003. The assistant director of the film is Torbjorn Ehrnvall. The film was shot in Solna, at Stockholm's Filmstaden. Having been slated for theatrical release and at first thought to have been a possible entry in the competition at the Cannes Film Festival ( May 14-25, 2003), the film was still in post-production; Max Von Sydow was among those who visited the festival. According to an e-mailed newletter from the beginning of August,2003 Ingmar Bergman was then still at work with the digitally shot print of the film of the Swedish director's last film, which includes Liv Ullmann and Erland Josephson in its cast. Greta Garbobiographer Richard Corliss, in an article entitled Last Roar From A Legend, quoted Ullmann as having said, "I take a pencil in my hand, and I write down what he says. Now he's chosen to isolate himself, and I don't understand it. But I know he really means it. This is the last script, the last film". In a subsequent article entitled That Old Feeling: To Live with Bergman, Corliss adds a fuller interview with the actress in which she says, "He doesn't see many people. Actually, he sees almost no one. He's reading. "This is the time in my life when I'm reading'." Shortly before the interview was published, Liv Ullmann, not unlike the actress Greta Garbo, returned to Stockholm and The Royal Dramatic Theatre, May 30, 2005 for a visit. In an article titled In the shadow of Ingmar Bergman in which he summarizes the history of contemporary Swedish film, Bengt Forslund writes about Bergman's teleplay, "He had announced that Saraband would be his last artistic endeavor- no more theater directing, no more films, no more television, no more radio. In this article I will take him at his word, though he's made that promise before." Julia Dufvenius was interviewed on Swedish television during the middle of August, 2003. On December 3, 2003, Swedish television aired the documentary In the Direction of Bergman (I regi av Bergman). To close the year 2003, Simon Hardh sent an e-mailed letter from Sweden through Yahoogroups about an account from author Peter Englund about Ingmar Bergman, "Since then I've heard Ingmar Bergman started using email. Swedish historian Peter Englund reported about his email correspondence with Bergman when Bergman asked him to write something about Mary Stuart for his stage production of the play. However I'm still sure that he wishes to keep his email to himself, if he has any, maybe he just borrowed Erland Josephson's at the time." In the e-mailed post, Simon Hardh added the address of Ulla Aberg at the Dramaten in Stockholm as where letters at that time could be sent to Bergman. In a webpage that Simon Hardh is currently updating there are included still photos from Ingmar Bergman's film for television, Saraband. In a webpage he is updating that is in Swedish, he includes screencaptures from Swedish television not only of interviews with Ingmar Bergman and Erland Josephson, but of an airing of the Swedish television filmBildmarkarna (Ingmar Bergman, 2000). On April 8, 2004 Swedish television began a three part series of interviews with Ingmar Bergman conducted by Marie Nyrerod with the broadcast Bergman and Cinema (Bergman och filmen), continuing April 9 with Bergman and Theater (Bergman och teatern) and April 12 with Bergman and Faro (Bergman och Faro). On the internet, SVT.SE presently offers online streaming video of interviews conducted with the director Ingmar Bergman. TV4 Film, a new Swedish film channel, began broadcasting on Swedish television on April 18, 2004. An e-mailed newsletter from the beginning of December, 2003 announced that Bergman had decided against theatrical release of the film. It was announced in September, 2004 that the film was slated to be given its premiere in the United States by digital projection at the New York Film Festival during the first weeks of October. The trailer to Saraband, by Ingmar Bergman is available over the internet.Ingmar Bergman then announced that he would continue with writing but not directing. Forthcoming from Bergman is the volume Three Diaries (Tre dagboecker). An e-mailed newsletter from Norway has quoted Ingmar Bergman as having agreed to a radio broadcast from his home and his having said, "After that, there will be nothing more." Ingmar Bergman, untill his death, resided on the island of Faro, where the magic lantern of Swedish film director Ingmar Bergman also resided; there is a theater seating fifteen that has a showing daily at 3:00. Director Marie Nyreröd (Ingmar Bergman Complete) was one of the visitors to Faro Island for its 2005 film festival. Joined by Ase Kleveland, who openened the screenings of Bergman week at the Faro film center, Kustparken, Farosund, was also the visitor Victor Sjöström, so as to signify the stroke of midnight, closing the festival on July 3, 2005 with the Swedish silent filmKorkarlen (1921). In Images, Bergman writes, "He had made the move that, to me, was the film of all films. I saw it for the first time when I was fifteen; to this day I see it at least once every summer, either alone or in the company of younger people. I clearly see how The Phantom Carriage has influenced my own work..." Writing about Victor Sjöström's film in an anthology edited by Stephen Prince, Tyberg succinctly connects theme with plot in describing the film's "images of the macabre carriage that travels about, gathering the souls of the dead together" and "the new coachman in disembodied form" by summarizing that as the film moves towards its end the character transforms inwardly well. Whether or not the carriage is a merely similie for camera movement, or more properly, what was then more often the lack of camera movement and the filming of the moving object through camera placement, and technique of using pictorial composition for both Swedish film directors Ingmar Bergman and Victor Sjöström, there was, and maybe still is, something antiquainted on the part of Sjöström's prescence. Among the visitors to Faro Island for Bergmanveckan during June 27-July 2, was actress Harriet Andersson. While expressing her fondness for the island as a location on which to make films, Andersson was reminded that Bergman had decided upon the island in part for its landscape and its beauty. Peter Cowie in fact has written, "The first concerns the landscape and the elements. Their significance in all Nordic cinema is immense. One finds the shortness and intensity of summer, for example, emphasized in films like Summer Interlude and Summer with Monika." This may be true for not only the swedish classic film Summer Interlude, but may also be an undercurrent to the imagery behind the swedish classic filmThrough a Glass Darkly. It was during April of 1960 that Ingmar Bergman first came to Faro Island to film Through A Glass Darkly, the first of seven of films to be in part photographed there. Peter Cowie explains, "The Island looks as though it had emerged from the sea of its own volition. Liv Ullmann describes the ladscape as covered with 'gnarled spruce trees of strange green colors, most of them stunted and bent along the ground'", his continuing to add, "He could observe the waves advancing and retreating on the barren shore. He could write in peace." Whether or not the Island has symbolized the theme of the artist that Ingmar Bergman's early films are thought to have been concerned with, it has been internalized by the director, almost in the same way that there is a fleeting shot at the end of the film Persona where we in fact see the actress only briefly in costume during an insert shot; something known only to the theater appears on the screen only by its having had been being created in the solitude of the limestone and ocean. Faro Island will be soon be inviting another guest. An e-mailed newsletter from Oslo, Norway has quoted Swedish film director as having said that the new Ingmar Bergman International Debut Award will be given as "a tribute to the singular art of twenty four frames." It is to be presented at the Goteborg International Film Festival, which will be held during the end of January and beginning of February, 2007. The film festival director is Jannike Ahlund. The director of the winning film will be invited to Faro. Marie Nyrerod again made the film Bergman Island part of Bergman week by introducing the film during the fetival which was to end June and begin July 2007. The island also played a part in illustrating the invaluable work of a scriptgirl that is involved as a director puts a screenplay into the emotional and plastic dimensions it aquires during its shooting- a Safari directed by Katinka Fargo has been added as a tour of the island, films clips being included that show locations on the island where Bergman has filmed. To add to this, and the spectacular conversations of the island during the week that remained primarily off camera, director Stig Bjorkman was also part of the festival, his film Faro Document being one of the three films included in its opening. Bergman Week 2007 was opened by actress Bibi Andersson with a screening of Persona along with a screening of Ingmar Bergman's film The Image Makers. Photographer Bengt Wanselius exhibited his photos from the film, which, based on a play by Per Olov Enqvist, chronicles the shooting of The Phantom Carriage. It has been a decade since the filming of Svenska hjalter (1997) starring Emma Warg, Cajsa Lisa Ejemyr, Janne Carlsson, Anki Linden and Lena Endre, which only whispers the question as to whether its director Daniel Bergman will be shooting a sequence on location on the island of Faro as a tribute to his father as a filmaker, or whether the island will again appear on film during a motion picture. His daughter, Eva Bergman, wife of Swedish author Henning Mankell, was with Ingmar Bergman on Faro Island when he passed away, but has directed only a small number of short films. The Associated Press during the middle of August, 2007, in reporting that Ingmar Bergman had consented to there being a service held at the Faro Church, remarked upon the director's contribution to the history of Swedish Film and its legacy, "Bergman's film vision encompassed all the extremes of his beloved Sweden: the claustrophobic gloom of unending winter nights, the gentle merriment of glowing summer evenings and the bleak magnificence of the Baltic Sea where he spent his last years." In Sweden, a retrospective of 50 films was screened at the Goteborg International Film Festival during January, 2008- festival director Marit Kapla explained that it had already been scheduled for what would have been the Swedish Film director Ingmar Bergman's 90th birthday. It had been announced in an e-mailed newsletter by Jon Asp of Ingmar Bergman Face to Face that renowned Scandinavian film director Jorn Donner would be visiting Faro during Bergman week, held during June 24-29, 2008. Also announced was that with him would be actress Gunnel Lindblom and Margarethe von Trotta. As part of any tribute to Swedish director Ingmar Berman, it is more than well worth reading, or rereading, the volume The Personal Vision of Ingmar Bergman (Djavulens ansikte: Ingmar Bergmans filmer), written by Jorn Donner, which the present author is reading for the first time during the summer of 2008. The book was published in Stockholm in 1962 and in the United States shortly thereafter when the film critic had released his first feature as a director, A Sunday in September. It is difficult to immediately decide upon their being a favorite actress among those that acted under the director Ingmar Bergman, especially with the actresses Ingrid Thulin and Eva Dahlbeck being included among them. At Bergman Week 2008 three films were screened honoring the actress Eva Dahlbeck, who passed among earlier in the year during February. A Lesson in Love (1954), Waiting Women (1952) and Smiles of A Summer Night (1955) were given a special screening during Bergman Week 2008 adding to a new Faro Document that included a visit from the producer of A Lesson in Love and Smiles of a Summer Night, Alan Ekelund.

The 100th birthday of Greta Garbo was a perfect time to recognize the efforts of Ase Kleveland, if only to introduce her as a proponent of classic film and the viewing of film with an interest in film history; she during September 2005 at the Cinemateket Filmhuset not only introduced Greta Garbo to Swedish audiences, but marked the love for the actress throughout Scandanavia. In an e-mailed correspondence to the present author, she wrote, "Many thanks for your greetings. I can assure that the Garbo celebrations was a great success indeed." There later was something almost faintly reminscient of Greta Garbo taking a train to Rasunda in 1912 where she was to meet Julius Jaenzon on the way to see Mauritz Stiller. As it almost neared a year after Garbo's 100th birthday, the letter from Ase Kleveland was forwarded to Hedvig Widmalm with the kindest regards and warmest of hopes. During a correspondence with the present author about the history of Swedish film, in particular the films of Mauritz Stiller, she had written, "I don't want to pry, but you got a letter from Ase Kleveland? I'm very curious." In a second letter she explained, "I'm very curious about Ase Kleveland. Even though I went to the film institute twice I met nobody. However, if there is any chance for me to find a job there int the future I would be happy to take a train to Stockholm every day." In a later letter from Sweden, Hedvig wrote about her having been at the screening of a film for which she had waited weeks to see, A Man There Was. "Victor Sjöström's daughter and grandaughter were in the audience. I don't know how old the daughter is, but it must have been amazing for her to see her parents in such an old movie." Also in Sweden, quietly after having retired, but hopefully with all enthusiasm, is photographer for Svensk Filmindustri Gunnar Fischer, who is waiting to celbrate his 100th birthday, his having been born on November 18, 1910. Swedish actress Ingrid Luterkort, who appeared in the film Annonsera (Anders Henrikson, 1936) and directed the film Vad vi gjort may be waiting more quietly than he; also born in 1910, her birthday falls earlier in the year- and yet again she has appeared on the screen under the direction of Swedish filmakers Hannes Holm, Kjell Sundvall and Hans Renhall. Since becoming general manager of the Swedish Film Institute, Cissi Elwin has added three RSS subscriptions to the internet: www.sfi.se Swedish Film Institute News Archive RSS www.sfi.se Swedish Film Institute Press RSS www.sfi.se Swedish Film Institute, publisher Photos and or links may be removed due to design consideration. Please write if you would like your webpage linked or have a video or poster that can be readed by the addition of your banner. Silent Film material that is linked is thought to be in main part public domain or that can be linked through fair use: please write with any questions regarding copyright or the copyright process. Since the principal photography on Ingmar Bergman's last film was completed, new filmographies have appeared on the internet; it is hoped that these have been consulted only within fair use of copyright and with a love of film , secondly, withthe acknowledgement that the filmographies were diligently compiled. Any page linked should be viewed for the interest of the stirring beauty of the silent films of Sweden. The top banner, All About Swedish Film, was designed for Scott Lord by Ullrich in Berlin in Germany, with whom I try to keep up with as he has desigened many european banners including the banner for the webpage of the Filmuseum in Potsdam. Although they carried links to trailers Swedish Films and introduced Swedish Film actresses, they can be updated, some of the material having been since withdrawn, and can also be revised and respidered, if you will allow me. I have since began a Flock Blog, and would like to add infornmation to the blogs using the Flock browser. Please find a link returning you to the webpage if the blogs lack anything of interest.

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Silent Film 1918

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Swedish Film 1909-1917 In part one of the Swedish Silent FilmThe Outlaw and His Wife (Berg Ejvind och hans hustru, 1918) Victor Sjostrom on screen portays a character that is introduced with an iris out, the previous scene which included secondary characters having concluded with an iris in; he is drinking from an Icelandic stream in medium close shot, the camera then cutting to a wider angle, it photographing him from the waist up to show more of the stream in the background. After a cut in, Sjöström cuts back to the shot, but only briefly, to show that his character is to the right of the screen, in profile, looking at what is offscreen to the left of the screen. Almost on action, he then abruptly cuts to a full shot in which the character has reversed the relation of his look to the side of the frame, his then cutting to a longshot as his character leaves the frame. He cuts to a vignette shot of his character facing the opposite direction that he does in the scene, and then to another accompanying a dialouge intertitle so that it is as though the line of dialouge has been delivered in close shot. Throughout the rest of part one Victor Sjostrom carries the story forward, it introducing the woman he will marry in a sidelighted, near over the shoulder, near quarter shot, it being that she hires him for a month and then later makes him steward. While part two begins with establishing shots of the exterior, the horizon line often parallel to the top of the frame line ( a wall is later used to show a vertical division of frame as two lovers meet behind it), there is no interruption of continuity between it and part three, the two not linked by any camera device, but the scene is quickly moved to an interior. In part three she asks him to marry her and he tries to decline while declaring his love for her (Sjöström cuts back and forth between their dialouge and a retrospective scene during which he uses iris in and iris out to show ellipsis). The rest of the film is of their journey together. In part four he cuts from a three quarter full shot of his character facing the right of the screen going towards her to embrace her to a shot of both of them in medium shot, her in his arms while he is facing the left of the screen. Rather than using suture between shot reverse shots, he holds the camera on them during the dialouge and concludes it by cutting to a closer angle of his character having lowered his body and putting his head on her stomach. During the dialouge which beings part seven an expository intertitle accompanies his interpolating a shot which would have been included in a previous scene and the shot from part four of his being near to her is repeated, their dialouge during while snowbound then continuing. Par Lagerkvist published the essay Modern Theater (Teater) in 1918, it purporting, and possibly rightly so, that the theater of Ibsen lacked what was needed for then modern audiences. 1919 saw the publication of Par Lagerkvist's play The Secret of Heaven (Himlens hemlighet). Agnes von Krusenstjerna that year published the volume Helenas fösta karlek. Bille August has recently filmed an adaptation of Lagerlof's Jerusalem- for Victor Sjostrom and AB Svenska Biograteatern it became The Sons of Ingmar (Ingmarssonera,1918) starring Harriet Bosse and Tore Svennberg with the director and Karin, Daughter of Ingmar (Karin Ingmarsdotter 1920, six reels), starring Tora Teje, Harriet Bosse and Bertil Malmstedt with the director, thier having been filmed by cinematographer Julius Jaenzon and the screenplays to both film's having had been being Sjöström's. -------Writing about The Sons of Ingmar, Bengt Forslund notes, "The most striking change that Sjöström introduces in his screenplay is to treat, daringly, the Kingdom of Heaven as a realistic setting...The scenery provides comic relief without seeming ridiculous. " Shooting the film mostly on location, "Sjöström developed dramatic moments that do not have the same intensity in the book" (Forslund). Forslund concludes by writing, "Otherwise, I still find The Sons of Ingmar less cinematic than The Outlaw and His Wife, less personal in its narrative technique." Of the actors in the film, he remarks, "Harriet Bosse seems a little mI'm iscast in the role of Brita, which certainly should have been played by an actress ten years younger." Mary Johnson during 1918 appeared in the Swedish silent film Storstadsfaror, directed by Manne Göthson and photographed by Gustav A Gustafson. Appearing with her in the film were Agda Helin, Tekla Sjoblom and Lilly Cronwin. In 1918, the first films to be directed by Sidney Franklin, who would later direct Greta Garbo in the silent filmWild Orchids, appeared in theaters, among them being Bride of Fear (five reels), The Safety Curtain (five reels) with Norma Talmadge, The Forbidden City (five reels) and Her Only Way (six reels), both films also starring Norma Talmadge. That year Fred Niblo, who would later direct Greta Garbo in the silent film The Mysterious Lady as well as Norma Talmadge in Camille (1927, nine reels), also began directing, his films having been The Marriage Ring, Fuss and Feathers (five reels), Happy Though Married (five reels) and When Do We Eat?. Director Paul Powell during 1918 teamed Rudolph Valentino and Marry Warren for the film All Night (five reels). Also in 1919, the Swedish director Ivan Hedqvist directed The Downy Girl.      Einar Bruun in 1919 directed the film Surrogatet, with Karin Molander for Filmindustri Scandia, Stockholm. Directed by Carl Barcklind was the film En un mans vag     Danish Film director Robert Dinesen in 1919 filmed the first of two films in Sweden, Jefthas dottar, with Signe Kolthoff, the second having been Odets redskap with Astri Torsell and Clara Schonfeld filmed in 1922. Sidney Franklin in 1919 would again direct Norma Talmadge, her starring in the six reel film The Heart Of Wetona. Conrad Nagel appeared in his first films, The Lion and the Mouse (Tom Terriss, five reels), Redhead and Little Women (H. Knoles, six reels), with Dorothy Bernard, Isabel Lamon and Lillian Hall. Theda Bara was to appear in A Woman There Was, directed by J. Gordon Edwards. She wrote "How I became a Vampire" for the June 1919 issue of Forum magazine and was interviewed by Olga Petrova for Shadowland Magazine in 1920 and for Motion Picture Magazine in 1922, both instances of one actor interviewing another. The selcted poems of Carl Gustaf Verner von Heidenstam were published in 1919. The Swedish poet had published the volume Nya Dikterin in 1915. He is the author of historical novel Karolinerna.      Ingmar Bergman has said, "I think Stiller with his Erotikon and Herr Arne's Treasure is alot of fun. And his Atonement of Gosta Berling, too, is a fresh, powerful, vital film." Where Selma Lagerlof and Mauritz Stiller had differred was on adaptation; Stiller perhaps seeing film as more visual, or theatrical, Gösta Werner having written that "Stiller later regretted preserving the long winded intertitles copied from the novel" (Tytti Soila) while filming Sir Arne's Treasure, or it may have having had been being that Stiller, as a compliment to Lagerlöf, had begun searching for a connection to the theater that both he and Gustav Molander had studied in Helsinki and similarities within Scandanavian literature. Of the film, Robert Payne writes, "he employed every trick known to cinema: close ups, dissolves, masks, superimposed images, sudden changes of tempo- a slow dreamy pace for the visionary scenes and an unbelieveably fast pace for the scenes of fighting...The film was tinted, thus giving it a heightened sense of reality." Wanda Rothgardt also appears in the film.

The Song of the Scarlet Flower (Sangen om den eldroda blomman, 1919), was to star Lars Hanson and Edith Erastoff. The Song of the Scarlet Flower (1956) with Gunnel Lindblom and Anita Björk was directed by Gustaf Molander. The tinting of the first film provides a contrast between its individual scenes, moods and uses of nature as a background, its narrative following a structure of seperate chapters. Particularly interested in the interrelated components of each film being part of the film in its entirety, David Bordwell writing with Kristin Thompson, also regards the emotion of the spectator during any sequence of a film as being related to the viewing of the film in its entirety; seperate scenes that are tinted belong to the film in its entirety- the film after it has been edited. Narrative and stylistic elements in film form are often interrelated. Long before Bordwell, Raymond Spttiswoode had written, "The film director is continually analysing his material into sections, which, in a great variety of ways, can be altePred to suit his purpose. At the same time he is synthesizing these sections into larger units which represent his attitude toward the world, and reveal the design he finds displayed in it. The analysis is an analysis of structure; of the filmic components which the director discerns in the natural world." Lucy Fischer in fact remarks upon the narrative unity with Jacques Feyder's The Kiss, noting that to view the film as an entirety, the spectator must combine different events from seperate sequences, connecting the plot events centered around Garbo's character. Oddly, she later discusses the background to narrative as conveying the thematic, not in as much as man's relationship to nature can depict the emotion inherent within storyline, as often in the films of Stiller and Sjöström, but in that the mise en scene of the silent films of Greta Garbo, in its being dramatic, provides an embellishment of the narrative through its spatial composition of the image- it being Garbo that is crossing the set and sitting into the shot, it being a melodrama taking place within a world in which she can be otherworldly. Raymond Spottiswoode, writing in 1933, as well saw film as being comprised of its component parts. The sequence is seen as a series of shots that taken as part of the film as a whole add to its untiy. Spottiswoode describes there being implicational montage, where the sequences are seen in their entirety, their then containing within them content that has a relation to the film as a whole through implication, a series of shots producing its effect, creating its significance, in combination with other sequences in the film.

Greta Garbo photographer William Daniels continued his early career as second camerman under the direction of Eric von Strohiem, one film having had been being Blind Husbands (eight reels, 1919), starring Fay Holderness and Francellia Billington, another having been the film The Devil's Passkey (1920, seven reels), starring Una Tevelyan, Mae Busch and Maud George. Although one of the best films of the decade, the silentBlind Husbands, was concerned with marriage and the marital, one actress that had made several marriage dramas had been Katherine MacDonald. Of those she had appeared in were The Beauty Market (Campbell, 1919, nine reels), The Woman Thou Gavest Me, The Notorious Miss Lisle (1920) and Passion's Playground (1920). To add to any new look at marriage that was taking place as Hollywood peered through the keyhole into a modernity of what was being shown of the bedroom, DeMille in 1919 directed Why Change Your Husband (six reels), Male and Female (nine reels) with Lila Lee and For Better or Worse (seven reels), his having begun a series of films on marital relations in 1918 with Old Wives for New (six reels), each film scripted by Jeanie Macpherson. Macpherson, who had begun writing screenplays fmor DeMille with the 1915 film The Captive, starring Blanche Sweet, in 1920 continued with the director by scripting the film Something to Think About (seven reels), starring Gloria Swanson. Fred Niblo directed the film The Marriage Ring (five reels) in 1918. It has been offered that the films of DeMille are not only erotic comedies but reflect the becoming a commodity of matrimony and the reification of married life through the exchange values employed within suture and the syntax of shot reverse shot, the commodification of female sexuality within gendered spectatorship; within a model of the new woman a female subjectivity is constructed that is a result of consumerism. Whether or not the influence is direct, Einar Lauritzen has attributed the success of Mauritz Stiller's film Erotikon (When We Are Married, 1920), starring Lars Hanson, Tora Teje , Guken Cederborg and Karin Molander, to the films of DeMille. Added to that, in that there is a connection between the marriage dramas of De Mille and von Stroheim and the early film of Ernst Lubitsch, author Kenneth Macgowan having written that "in a wittier way" than the earlie two directors, Lubitsch had, "contributed to the delinquency of the screen", in particular with the silent filmThe Marriage Circle, in regard to the influence Mauritz Stiller may have had, Birgitta Steene writes, "They have often reminded foriegn critics of the comedies of Ernst Lubitsch, but actually the elegant eroticism characteristic of both Lubitsch and Bergman finds its source in the works of the Swedish motion picture director Mauritz Stiller." The film was photographed by Henrik Jaenzon. Greta Garbo had seen the film Erotikon before her having met StilPler. Erotic comedy was later explored by the Finnish director Teuvo Tulio in his film You Want Me Like This (Sellaisena kuin sina minut balusit, 1944). The Phantom Carriage (The Phantom Chariot,Korkarlen, 1920, also listed as 1921) adapted from a novel by Selma Lagerlöf, directed by Victor Sjostromfrom his screenplay, has often been compared to the opening symbolic sequence to Bergman's Wild Strawberries. In part, what may account for Bergman's feeling that the film had become more of a contribution that Sjöström had made rather than one of his own is the structure of the film's narrative, its use of a protagonist as narrative address. Victor Sjostrom stars in both films. Photographed by Jaenzon, the film also stars Hilda Borgström, Mona Geifer-The Phantom Carriage(Korkarlen) was filmed by Arne Mattsson in 1958. Danish film director Lau Lauritzen directed five films in Sweden in 1920, En hustru till lans with Karen Winther, Flickorna i Are, with Kate Fabian, Karleck och bjornjakt with Si Holmquist, Vil de vare min kone-i morgen and Damernes ven. Although The President (Praesidenten, 1919), starring Elith Pio and Olga Raphael-Linden, is not distinguished as being remarkable, it is one of the only two that Carl Th Dreyer made in Denmark before his going abroad, his later establishing a small body of work that would be indelible upon filmmaking. His films are disparate stylisticly, differing in their use of technique; Dreyer has been quoted as having remarked upon his having tried to find a style that would have value for only a single film. In 1920, Greta Garbo would begin watching the silent films of Clara Kimball Young, Charles Ray and Thomas Meighan- it was also that year that she would espy the actor, later to become director, Sigurd Wallen at a performance of his, there also being an account of her having had a brief conversation with the actor Joseph Fischer. The films of Clara Kimball Young were the springboard for scriptwriter Lenore Coffee, whose first films as a screenwriter, The Better Wife (William Earle, 1919,five reels) and The Forbidden Woman (1920) had starred the actress. Finnish silent film director Erkki Karu directed two films for Suomen Biografi in 1920, both photographed by Finnish cinematographer Frans Ekebom, War Profiteer Kaikus Disrupted Summer Vacation (Sotagubishi Kaiun Hairitty Kesaloma) and Student Pollovaara's Betrothal (Ylioppilas Pollovaaran kihlaus).

Mary Pickford was portrayed by Swedish actress Agneta Ekmanner in the 1974 teleplay Bakom masker, directed by Lars Amble and based on the play by Hjalmer Bergman.

Clarence Brown directed his first film, The Great Redeemer (five reels) with Marjorie Daw and John Gilbert in 1920. Lowell Shermann, who appeared with Greta Garbo in the film The Divine Woman began in film in 1920 with Yes and No (Roy W. Neill, six reels) with Norma Talmadge and in 1921 with The Gilded Lady, (seven reels) Molly O (eight reels) and What No man Knows (six reels). Covergirl for Photoplay Magazine, Norma Talmadge was also that year directed by Roy W. Neill in the film A Woman Gives (six reels). A Daughter of Two World (James Young, six reels) and She Loves and Lies were also to star Norma Talmadge that year. Norma Shearer appeared in films in the year 1920, among them being The Sign On the Door ( Herbert Brenon, seven reels), The Flapper (Alan Crosland, five reels), The Restless Sex (six reels) written by Frances Marion and The Stealers (seven reels, William Christy Cabanne). Griffith also directed the films The Idol Dancer (1920, seven reels), with Richard Barthelmess, Clarine Seymour and Kate Bruce. In 1920 Dorothy Gish not only starred in the film Little Miss Rebellion (five reels), directed by George Fawcett, but also had begun filming with the director F. Richard Jones, under whose direction she starred in Flying Pat (1920, five reels), with Kate Bruce, The Ghost in the Garret (1921) and The County Flapper (1922) with Glenn Hunter and Mildred Marsh. Lillian Gish writes about Garbo's later asking her to introduce her to Griffith, which she did, and of Garbo's asking her how she should dress. Garbo had said to her, "It would be nice to have dinner at your house."       Scripted by Hjalmar Bergman, was the 1921 film Fru Mariannes friare, directed by Gunnar Klintberg and starring Astri Torsell, Inga Ellis and Aslaug Lie-Eide, the cinematographer to the film having been Robert Olsson. Gunnar Klintberg would continue by directing Astri Torsell in two other Swedish Silent films, The Love Child, with Julia Hakansson, and Lord Saviles brott.      The Fishing Villiage (Chains, Fiskebyn) was filmed in 1920 by Stiller and Henrik Jaenzon, it starring Lars Hanson. Appearing in the film was Hildur Carlburg, who that year also appearred in the film The Witch Woman (Prastankan), shot in Sweden by Danish film director Carl Dreyer. Sölve Cederstrand directed his first film, Ett odesdigert inkognito, starring Tage Alquist and Signe Selid, in 1920. A Fortune Hunter (En Lyckoriddarre, 1921 six reels) starring Gösta Ekman, Mary Johnson, Hilda Forsslund and Greta Garbo, her appearing with her sister Alva Gustafsson in a scene that takes place in a tavern. In 1922 he directed Iron Wills (Harda viljor). Danish silent film director A. W. Sandberg in 1920 wrote and directed two films for the Nordisk Films Kompagni in which the actress Clara Wieth starred, House of Fatal Love (Kaerlighedsvalen) and A Romance of Riches (Stodderprinsessen), in which she starred with Gunnar Tolnaes. Sandberg also that year directed the film Adrift (Det dode Skib), with Valedmar Psilander, Stella Lind and Else Frolich. Ivan Hedqvist in 1921 directed the film Pilgrimage to Kevlar (Vallfarten till Kevlaar) starring Jessie Wessel, which he followed in 1924 with Life in the Country (Livet pa landet), photographed by Julius Jaenzon. Klaus Albrecht that year directed Lili Ziedner in the film The Bimbini Circus (Cirkus Bimbini). Tyra Ryman was introduced to her later costar Greta Garbo in 1922 at PUB by Eric Petschler, who directed both in Luffar-Peter. Writing about another film directed that year by Mauritz Stiller, Tom Milne sees the film Johan as having contributed to the technique and to the look of the film The Bride of Gromdal directed by Carl Th. Dreyer. Carl Th. Dreyer in 1921 directed the silent film Leaves from Satan's Book (Blade af Satans Bog). In the United States during 1921, Mary Pickford continued acting with the silent filmLittle Lord Fauntleroy.      That year Sjöström also directed The Surrounded House (Det omringade huset), starring Wanda Rothgardt and Hilda Forsslund. The Swedish director Gustaf Edgren contributed The Young Lady of Bjorneborg (Froken pa Bjorneborg, 1922), photographed by Adrian Bjurman and starring Rosa Tilman, Elsa Wallin and the actress Edit Ernholm in her first film. Sigurd Wallen that year directed his first film Andessonskans Kalle with Stina Berg and Anna Diedrich, his following it with Andessonskans Kalle pa nya upptag with Edvin Adolphson, the debut film of Mona Martenson.      That year Ragnar Ring wrote and directed En Vikingafilm, with Harald Wehlnor and Sigrid Ahlstrom. Karin Boye, the Swedish poet began publishing in 1922 with the volume Clouds. She continued in 1924 with Hidden Lands and in 1927 with The Hearths. Swedish poet Birger Sjoberg in 1922 published Frida's Songs. Writing about the 1922 Finnish Silent Film, Tytta Soila notes, "Perhaps one might say that the fortune of Suomi-Filmi, and thus the future of Finnish cinema, was established by portraying the lives of two strong female characters: Anna-Liisa and Hannah. Subsequently, many Finnish films were to have a strong female character at the center of the action."

In 1922 Rudolf Valentinowas in an early role, starring with Gloria Swanson in the film Beyond the Rocks (Sam Wood); the only existant copy of the film was found recently and the film, readying for distribution in United States during 2005, had its premiere in Amsterdam at the Filmuseum's Biennale festival. In her autobiography Swanson on Swanson, the actress gives an account of making of the film. "Everyone wanted Beyond the Rocks to be every luscious thing Hollywood could serve up in a single picture: the sultry glamour of Gloria Swanson, the steamy Latin magic of Rudolph Valentino, a rapturous love story byb Elinor Glyn, and the tango as it was meant to be danced, by the master himself. In the story I played a poor but aristocratic English girl who is married off to an elderly millionaire, only to meet the lover of her life on her honeymoon." After describing the fun she had off the set with Valentino, with whom she often had dinner, she concludes, "Several months later he married Natacha Rambova, and from then on he and I saw each other seldom." Valentino had in 1921 starred in the silent filmCamille (Ray C. Smallwood, six reels) with Patsy Ruth Miller and Consuelo Flowerton.

It is only with sincere appreciation for for the Silent Film series aired on Turner Classic Movies on Sunday Nights that the best of luck should be wished to Robert Osborne and Charles Tabesh at their appearing at the screening of silent films- Robert Osborne was present at the San Francisco Silent Film Festival for the July 14, 2007 showing of Camille. The film was included in the Greta Garbo Signature released in 2005 near to the 100th birthday of the actress Greta Garbo along with a section entitled TCM archive: Greta Garbo Silents.

Lon Chaney in 1922 starred in the film Flesh and Blood (five reels). Norma Shearer first appeared in a starring role in 1922 in the film The Man Who Paid (five reels), directed by Oscar Apfel. Rudolf Valentino in 1922 would appear with Wanda Hawley in the film The Young Rajah (Phil Rosen), the screenplay to the film written by June Mathis, who adapted the script from a novel by ames Ames Mitchell. Valentino would also that year appear with Dorothy Dalton in Moran of the Lady Letty (George Melford).

Filmed in Sweden by Danish silent film director Benjamin Christensen, 1922 saw the release of the long awaited film Haxan (Witchcraft Through the Ages). The film, recently included in the films of Janus Films and in the silent film from Criterion, in the United States, was photographed by Johan Ankerstjerne and written by Christensen, who appears in the film with Ella la Cour, Emmy Schonfeld, Kate Fabian, Elisabeth Christensen, Astrid Holm and Elith Pio. Notably Alice O Fredricks and Tora Teje also appear in the film. In a film that to Sweden was to be its Intolerance, Christensen numerously uses the iris in to punctuate the end of a particular scene and the iris out in the subsequent shot to begin the adjacent scene; he goes so far as to use both during the same shot. Raymond Sptossiwoode remarked upon the fade in and fade out, along with the dissolve and wipe, as being something that was to "produce a softening effect, an indeterminate space between successive shots", his delegating it to being "the mark of the termination of an incident or of a defined period of time". German director Paul Wegener, two years earlier than Christensen's film, released a remake of his film The Golem (Der Golem), which he had first filmed in 1915.

Gustaf Molander. Continuing the filming of the novels of Lagerlöf, he directed Birgit Sergelius and Pauline Brunius in Charlotte Lowenskold (1930). Charlotte Lowenskold is the second in a trilogy of short stories written by Selma Lagerlöf, each of them having the Scandinavian landscape of Varmland as their background. The beginning volume, Lowenskolska Ringen was published in 1925, the third volume, Anna Svard having appeared in 1928. Victor Sjostrom had starred with Wanda Rothgart and Gunn Wallgren in the first filming of The Word (Ordet, 1943) under the direction of Molander, the actor Rune Lindstrom having written the screenplay. Victor Sjostrom also acted under Molander's direction in the films The Fight Goes On (Striden gar Vidare, 1941),in which Sjostrom appeared with Renee Bjorling and Ann-Margret Bjorlin, it having had been being the debut of the actress in film, Det Brinner en Eld (1943), in which Sjöström appeared with Lars Hanson and Inga Tiblad and Kvartetten som Sprangdes (1950). If as though to either to complement or to counter the use of mise en scene and Victor Sjöström's use of landscape in early Swedish cinema, Molander is a director of the interior scene. Tytti Soila writes, "Particularly in the melodramas, Molander used the composition of the image with the purpose of showing something essential about the existential situation of the characters. The pictures are 'tight' and on the verge of being claustrophobic, as props and other details of the set fill the frame, competing for room with the characters." Gustaf Edgren in 1923 wrote and directed the film People of Narke (Narkingarna) photographed by Adrian Bjurman and starring Anna Carlsten, Gerda Bjorne and Maja Jerlström in her first appearence on screen, the director following it in 1924 with The King of Trollebo (Trollebokungen), an adaptation of the 1917 novel scripted by Sölve Cederstrand and photographed by C.A. Söström, the film having starred Ivar Kalling, Weyeler Hildebrand and Signe Ekloff. Per Lindberg directed his first film in 1923, Norrtullsligan written by Hjalmar Bergman and starring Tora Teje, Egil Eide, Stina Berg, Linnea Hillberg and Nils Asther, as did William Larsson, who directed Jenny Tschernichin, Jessie Wessel and Frida Sporrong in the film Halsingar and Karin Swanström, who directed and starred with Karin Gardtman and Ann Mari Kjellgren in the film Boman at the Exhibition (Boman pa utstallningen) for Scandias Filmbyra and Svensk Filmindustri. Halsingar was also to be the first of many films photgraphed by Swedish cinematographer Henning Ohlson. Per Lindgren that year directed a second film scripted by Hjalmar Bergman, Anna Klara and her Brothers (Anna Clara och hennes broder), it starring Anna-Britt Ohlsson, Hilda Borgström, Karin Swanström, Linnea Hillberg, Hilda Borgström and Margit Manstad in what would be her first appearance on the siler screen. The film was photographed by Ragnar Westfelt. Bror Abelli in 1923 directed his first two films, including the film Janne Modig. Froken Fob (1923) was directed by Elis Ellis and photographed by Adrian Bjurman. Sven Bardach photographed his first film in 1923, Andersson, Petterson och Lundstrom, under the direction of Carl Barklind. The film stars Vera Schmiterlow and Mimi Pollock, both of whom were aquaintances of Greta Garbo, Inga Tiblad, Gucken Cederborg and Edvin Adolphson. Fredrik Anderson in 1923 directed En rackarunge, with Elsa Wallin and Mia Grunder. Gustaf V, King of Sweden is listed as being in the film. The film was photographed by Swedish cinematographer Sven Bardach. Danish actress Olga d'Org starred in three films for Nordisk Films Kompagni, all of which were directed by A.W. Sandberg, including the 1923 film The Hill Park Mystery (Nedbrudte nerver). Finnish film director Karl Fager in 1923 brought the film The Old Baron of Rautakyla (Rautakylan Vanha Parooni) to the screen. Theodor Berthels in 1924, wrote and directed the film People of the Simlanga Valley (Folket i Simlangsdalen) with Mathias Taube and Greta Almroth and directed the film The Girl from Paradise (Flickan fran Paradiset). Both films were photographed by Swedish cinematographer Adrian Bjurman. Ragnar Ring that year directed Bjorn Mork and Nar millionera rulla. Ivar Kage in 1924 directed Gosta Hillberg and Edvin Adolphson in the film Where the Lighthouse Flashed (Dar fryen blinkar) for Svensk Ornfilm. Rune Carlsten in 1924 wrote and directed The Young Nobleman (Unga greven tar flickan och priset). Hellwig Rimmen that year directed and photgraphed the film Hogsta vinsten. Silent FilmSILENT FilmSILENT FilmSILENT FILMDanish Silent Film

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In 1930 G?sta Ekman and Stina Berg appeared in the film For Her Sake (For hennes skull) written by Ivar Johansson directed by Paul Merzbach, which also starred Inga Tiblad. In regard to the tradition in Scandinavian filmmaking of incorporating the enviornment into the storyline and the transition from silent film to sound, author Forsyth Hardy looks toward Hollywood to describe For hennes skull only to clarify the technique Gustaf Molander was soon to develop more fully behind the camera, "The film had little significance beyond its proof that in Sweden, as elsewhere, the microphone wa a cramping influence on the movement natural to the medium." And yet without mentioning how groundbreaking the films of the period were in the history of the relationship between the screenplay and the shootingscript, now that the photoplay had ended as a form of literature, Hardy continues by noting that during the early sound films photographed by Julius Jaenzon and directed by Victor Sjostrom both had tried to remain faithful to the old medium of silent film and its near precedence of plotline over dialougue by making the use of the microphone less noticeable during the film, possibly giving the new form more value. Paul Merzbach followed in 1931 with the film The False Millionare (Falska Millionaren), starring Fridolf Rhudin, Gunnar Bj?rnstrand and Annalisa Ericson and photgraphed by Elner Akesson. Swedish director John Lindlof contributed the film Den Gamla Garden with Margareta Schöström and Marta Lindlöf during 1931. Rune Carlsten that year appeared as an actor in Longing for the Sea (Langten till havet) directed by John W. Brunius. Greta Garbo director Eric Petschler that year directed Guken Cederborg, Greta Anjo and Marta Claesson in the film Flickan fran Varmland. Swedish film director Per Lindberg in 1931 established three theaters with actor Gosta Ekman, among them being included Vas-teatern and Konserthusteatern (The Large and Small room). Actor Hasse Ekman was given the play "Fredja" by Per Lindberg in 1934. After returning to Sweden in hope that it was there that his daughters would be raised, Victor Sjsotrom also returned to the screen in a brief appearance with Swedish film directors Gustaf Molander and Gustav Edgren in the film Motley Leaves/Gaudy Blade (Brokiga Blad) with Lili Ziedner, Edvin Adolphson G?sta Ekman and Annalisa Ericson. Sj?str?m had appeared in a short beauty contest film, Froken, Ni linknar Greta Garbo (1931), along with Lars Hanson and Karin Molander, both of whom had returned to Sweden, where Eivor Nordstrom was chosen to be the most like Greta Garbo. Its photographer was Ake Dahlquist, its director Per Axel Branner who had been the assistant director to the film, The Markurells of Wadkoping, directed by Victor Sjostrom Branner had directed his first film, Tango-foxtrot, in 1930. Gustav Molander directed both father and daughter in films that were made in Sweden, Victor Sj?str?m in Love (Karlek, 1952), and Guje Lagerwall in Franskild (1951). Also starring in Molander's film Franskild were Inga Tiblad, Irma Christensen and Marianne Löfgren. One Night (En natt, 1931) directed by Gustaf Molander and written by Ragnar Hylten-Cavallius owes much of its construction to its assitant director, Gosta Hellstr?m. Hellstr?m had been a film critic who met with both Eisenstien and Pudovkin before returning to Sweden. It is distinct from Molander's other film in its technique, in its editing. Appearing in the film are Gerda Lundequist, Unno Henning, Sture Lagerwall, Ingert Bjuggren and Karin Swanstr?m. The cinematographer to the film was Ake Dahlquist In 1932, Gunnar Skogland wrote and directed the film Landskamp with Fritiof Billquist, George Blomstedt, Gun Holmquist, Signhild Bjökman and Signe Lundberg-Settergren in her first film as an actress. The cinemaographer to the film was Elner Akesson. Actress Ingrid Bergman has a brief role in the film, as does Corcordia Selander, and yet in her autobiography, My Story, Bergman omits the name of Gunnar Skoglund entirely. Bergman, rather, relates an account of her having been given a screen test with Gustaf Molander. "I knew an actress named Karin Swanstr?m came into his shop from time to time. She was a fine comedy actress, but now she was the artistic director of Swedish Films", wrote Bergman. She quotes Karin Swanstr?m as having told her that she would arrange a screen test for her within a week but then abruptly telling Bergman, "No, wait a minute, I'll see if I can arrange it now." It would be Gustaf Molander that would recommend her to Edvin Adolphson until it would later become possible for her to film with him. Weyler Hildebrand in 1932 directed his first film, Baklaxan, as well as the films Navvies of the Crown (Kronans rallare), Muntra musikanter, starring Ulla Sorbon and Anna Olin and The Southsiders (Soderkakr), starring Sigurd Wallen. Soderkakar was the first film in which actress Rut Holm was to appear. Ragnar Arvedson was the assistant director to the film Modern Wives (Modarna fruar, 1932), written and directed by Edvin Adolphson based on the play written by Algot Sandberg. , Jag gifta mig- aldrig, the first film in which Viran Rydkvist was to appear, was brought to the screen that year by director Eric Berglund. In 1932, John Lindlof directed Tva man om en anka, written by Borje Larsson and photographed by Julius Jaenzon. The film stars Tollie Zellmann. Sigurd Wallen in 1932 directed the films The Boys of Storholmen (Pojkarna pa Storholmen) with Margit Manstad, Anna Olin and Ruth Stevens and Lucky Devils (Lyckans gullgossar), the assistant director to the film Ivar Johansson. In Denmark, two years earlier a novel about a poet, Havoc (Haevaerk) had begun a look at the world by Danish literature than would become from then increasingly more modern, although its author, Tom Kristensen, had in fact begun publishing poetry in Denmark in 1920 with the volume Freebooter's dreams (Fribytterdromme). In 1932 it would be followed by the novel Jorgen Stein, written by Jacob Paludan. Playthings (Legetoj), written by H. C. Branner would introduce H. C. Branner to Danish audiences in 1935. Branner would later write the novels The Riding Master (Rytteren) in 1949 and No One Knows the Night (Ingen Kender Natten) in 1955. AB Europa, housed at 10 Drottingatan in Stockholm, began its production of film in 1930, among the films it made being those of Schamyl Bauman, beginning in 1933 with Secret Agent Svensson (Hemliga Svensson), starring Fridolf Rhudin and Weyeler Hildebrand and Saturday Nights (Lordagskvallar), starring Ejvor Kjellstrom and Ruth Weijden. Both films also star Edvard Persson. In 1933, Eric Malmberg and Rune Carlsten directed the first film in which Signe Hasso was to appear, House of Silence (Tystnadens hus), with Fritiof Billquist. The film was the first to be photographed by cinematographer Harry Hasso, who also appears in the film as an actor. Like Greta Garbo, Signe Hasso travelled to Hollywood to film, her appearing in the films Heaven Can Wait (1943, Lubitsch) and A Double Life (1947, George Cukor). Swedish actress Emy Hagman appearred in her first film that year, Flickan fran varuhuset, under the direction of Anders Hendrikson and Torsten Lundqvist, Brita Appelgren having starred with her in the film. Much like Swedish actress Guje Lagerwall, the daughter of Victor Sjöström and wife of Sture Lagerwall, who was included in the early sound films of Sweden, Dora Söderberg, the daughter of playwright Hjamler Söderberg and wife of Swedish actor and director Rune Carlsten, was afforded one of her early on screen appearances in the film House of Silence. Tancred Ibsen directed his first film in 1933, Vi som gar kjokkenveien, his following it with Synnove Solbakken (1934), starring Victor Sj?str?m and Fritiof Billquist. Gustaf Molander in 1933 directed the film Dear Relatives (Kara slakten), starring Ruth Stevens, Dora Söderberg and Sickan Carlsson and written by G?sta Stevens. Edvin Adolphson in 1933 directed the film What do Men Know (Vad veta val mannen), scripted by G?sta Stevens as well. Ivar Johansson in 1933 wroted and directed both Boman's Boy (Boman's pojke), with Birgit Tengroth, and People of Halsingland (Halsingar), the first film in which Aurore Palmgren was to appear, with Karin Ekelund, Inga Tiblad and Edit Ernholm. Elner Akesson photographed the film for Svensk Talfilm. The former film was adapted by Ivar Johansson from a play by Siegfried Fischer, the latter film from a play by Henning Ohlsson. Marmstedt that year directed G?sta Ekman and Karin Kavli in the film Perhaps a Poet (Kanske en Diktare), co-scripted with Torsten Flodin. Also appearing in the film is Gunnar Olsson, who would direct his first film Jarnets man, with Hjalmar Peters, in 1935. Janets man was written by Johan-Olov Johansson and photographed by Eric Bergstrand. In 1934 Marmstedt follwed by directing Ake S?derblom and Astrid Marmstedt in the film Eva Goes Aboard (Eva gar Ombord) and Birgit Tengroth and Edvin Adoplphson in the film Atlantic Adventure (Atlantaventyret), also co-scripted with Torsten Flodin. Hasse Ekman appeared on screen in 1933 under the direction of Ragnar Widestadt in the film Hemslavinnor, with Maj Tornblad, Anna Widforss and Isa Quensel. Gösta Stevens wrote the screenplay to the film. That year Hasse Ekman also appeared in the film A Night on Smygeholm (En Natt pa Smygeholm) under the direction of Sigurd Wallen, the film also starring Annalisa Ericson and Anna Olin. It was scripted by Gösta Stevens and photographed by Julius Jaenzon. Karin Ekelund appeared in her first film, Marriagable Daughters (Giftasvuxna dottrar), in 1933, the film directed by Sigurd Wallen from his own screenplay and photographed by Julius Jaenzon. Also starring in the film are Birgit Tengroth and Maritta Marke. Arne Bornebusch directed his first film in 1933, Hur behandlar du din hund?, it also being the first screenplay written by Bengt Idestam-Almquist. The pen name of Idestam-Alquist was Robin Hood, his having had been being being one of the early film critics of Sweden, later publishing the volume Den Svenska Filmens Drama: Sjöström och Stiller (1938). Idestam-Almquist had appeared as an actor in the 1920 film Gyurkovicsarna. One of the more widely read of the early novels of Swedish author Eyvid Johnson, Here is Your Life (Har har du ditt live), was published in 1933, as was the novel Cape Farewell (Kap Farval), written by Harry Martinson. Birgit Rosengren starred in her first two films in 1934, The Girls from the Old Town (Flickorna fran Gamla St'an) with Karin Ekelund and The Women Around Larsson (Kvinnorna kring Larsson), with Sture Lagerwall, the director of both films having been Schamyl Bauman. The following year she appeared in the film Flickor pa Fabrik directed by S?lve Cederstrand. Schamyl Bauman followed in 1934 with the film Larsson's Second Marriage (Larsson i andra giftet). in 1934 Ivar Johansson that year directed Sickan Carlsson and Greta Woxholt in the film The Song to Her (Sangen till henne) and Anna Olin in the film Uppsagd, both films photographed by Martin Bodin. Uppsagd was the first film in which actress Margit Andelius was to appear. Emil A Lingheim directed his first film in 1934, Bland karparoch foreller. That year John W. Brunius directed with Pauline Brunius and Karin Albihn the film False Greta (Falska Greta), John W, Brunius. Brunius had appeared as actor in the 1931 film Red Day (Roda dagen), directed by Gustaf Edgren and written by S?lve Cederstand. Photographed by Ake Dalqvist and directed by Edvin Adolphson and Sigurd Wallen, The Count of the Monk's Bridge (Munksbrogreven, 1934-5) is a showcase for a young Ingrid Bergman. The screenplay is listed as having been written by Arthur Natrop and Siegfried Fischer (Greven fran Gamala Sta'n) and the scenario as having been penned by G?sta Stevens. In her autobiography, Ingrid Bergman recounts that during her first scenes she had nearly overstepped her bounds with the actress Tollie Zellman and that Edvin Adolphson had addIn ed a kind word for her. Per G. Holmgren directed his first film in 1935, Havet lockar. Gosta Rodin in 1935 directed Sickan Carlsson and Lili Ziedner in the film Karlek efter noter, written by Torsten Lundqvist and photographed by Martin Bodin. That year he also directed Sickan Carlsson for Svensk Talfilms in The People of Smaland (Smalanningar), also scripted by Torsten Lundqvist. Rune Carlsten that year directed The Marriage Game (Aktenskaplekan) with Zarah Leander, Anna Olin and Ingeborg Strandin, the assistant director to the film Rolf Husberg, the script written by Ragnar Hylten-Cavallius. Directed by Edvin Adolphson for Wivefilm, cowritten with the director by Oscar Hemberg and photographed by Elner Akesson, Flickornas Alfred (1935) was to star Birgit Tengroth, Hilda Borstr?m and Olga Andersson. Andersson had starred with Greta Garbo in 1920 in the short films photographed by Ragnar Ring. After having directed the film Under False Colors (Under Flask Flagg, 1935), scripted by G?sta Stevens and starring Tutta Rolf, in 1936 Gustaf Molander directed the films The Honeymoontrip (Brollopsresan), starring Karin Swanström, Ulla Sorbon, Karin Albihn, Edvin Adolphson and Anne Marie Brunius, The Family Secret (Familjens hemlighet), from a screenplay by G?sta Stevens. Ingrid Borthen had a small role in the film The Family Secret, it being the first film in which she was to appear. Gideon Wahlberg directed his first film in 1936, Soder om landsvagen, starring Agda Helin, Inga-Bodil Vetterlund, Mim Ekelund. It is particularly interesting that Swedish silent film director George af Klerker also appears in the film as an actor. The King is Coming (Kungen kommer), written and direted that year by Ragnar Hylten-Cavallius, starred G?sta Ekman, Birgit Tengroth, Ingeborg Strandin and Tollie Zellman and was produced for Terra film. The beautiful Finnish actress Ansa Ikonen began starring in film durring 1935-36 in two films under the direction of Finnish director Valentin Vaala, Everybody's Love (Kaikki rakastavat) and Surrogate Wife (Vaimoke), both having starred Tauno Palo. Ragnar Arvedson in 1936 wrote and directed the films The Ghost of Bragehus (Spoket pa Bragehus),with Annalisa Ericson, Poor Millionares (Stackars Miljonarer), with Anna Olin and Are We Married (A vi giftas?) with Karin Ekelund. Johan Ulfstjerna (1936), starring Edith Erastoff and Einar Hanson, was directed by Gustaf Edgren and photographed by Julius Jaenzon. Edgren followed with the film The Russian Flu (Ryska snuvan, 1937), starring Edvin Adolphson. Greta Garbo biographer Fritiof Billquist appeared with Karin Ekelund and Birgit Rosengren in Flickor pa fabrik (1935) directed by S?lve Cederstrand, the first film in which actress Britta Estelle was to appear. Arthur Natorp in 1936 directed his first film, Karlek och monopol, photographed by Eric Bergstrand. Anders Henrikson in 1936 directed the film Annosera!, photographed by Martin Bodin. Gunnar Fischer that year worked as assistant cameraman with Swedish cinematographer Elner Akesson under the direction of Anders Henrikson on the film He, She, and the money (Han, hon, och pengarna), starring Ruth Stevens, Kirsten Heiberg and Maritta Marke. The film was editied by its assistant director, Rolf Husberg. Swedish actress Margit Andelius starred as the protagonist of Raggen, That's Me (Det ar jag det) that year, the film having been directed by Schamyl Bauman and photographed by Hilmer Ekdahl. The film also starred Anna Olin, Aino Taube, and Isle-Norre Tromm. Swedish poet Harry Martinson had two novels that appeared in bookstores during 1935 and 1936, Flowering Nettles (Nassloma blomma) and The Way Out (Vagen ut), respectively. Cinematographer Ake Dahlqvist may very well be presently be known to audiences in the United States as the cameraman behind the viewfinder to the film Intermezzo (1936) directed by Gustaf Molander from a script he co-scripted with Gösta Stevens. Both Hasse Ekman and Anders Henrikson appear in the film, as do Inga Tiblad, Britt Hagman, Swedish silent film star Emma Meissner and the young actress that still directs audiences to the film by her having later remade it in the United States, Ingrid Bergman. Intermezzo was the first film in which actress Millan Bollanden, who was seen onscreen with Ingrid Bergman often, was to appear. In her autobiography, Ingrid Bergman writes that she was reluctant when asked to film One Night Only (En Enda Natt, 1937) and that she had hoped to star in the film A Woman's Face (En kvinnas Ansikte, 1936). Both films were directed by Gustaf Molander and scripted by G?sta Stevens. "Look," she had said, "I'll only do your film if you let me do the girl with the distorted face." She quotes Gustaf Molander as having said, "The technicalities of the distorted face were fine, but I couldn't get the story right." There is and account given by Ingrid Bergman of her having had been being asked to supply an eding to the plotline before the shooting of the film had finished and of the concluding scenes of the film having been based upon her idea. One Night Only was photographed by Elner Akesson, the assistant director the film having been Hugo Bolander. A Woman's Face was photographed by Ake Dahlqvist. From letters to his wife during the summer and autumn of 1936 we can very well follow the work on the script, the planning, and the shooting of Under the Red Robe". Begnt Forslund chronicles the retSwedish film director Victor Sjostrom to film directing in England with a script based on the writing of Stanely Weyman, which had already appeared on the stage as dramatized by Edward Rose. Signe Hasso appeared on the screen during 1937 under the direction of Schamyl Bauman, starring in the film Witches Night (Haxnatten) with actresses Ruth Stevens, Gerda Bjorne and Marta Lindlof. John Lindlof in 1937 directed the film Odygdens beloning. Gustaf Molander in 1937 directed Tutta Rolf in the film Sara lar sig folkvett, written by Gösta Stevens and photographed by Julius Jaenzon. Jaenzon also that year photographed the film Cleared for Action/Clearly to drabbning (Klart till drabbning), in which Edvin Adolphson directed his daughter, Swedish actrees Anna-Greta Adolphson. The film was scripted by Weyler Hildebrand and Torsten Lundqvist and also stars Ake Söderblom and Sickan Carlsson. Gosta Rodin wrote and directed the film The Pale Count (Bleka greven), photographed by Sven Thermaenius. Produced by Svensk Talfilms, the film stars Anna Olin, Karin Ahbihn and Aina Rosen. Alice Babs starred in her first film in 1938, Thunder and Lightning/Flash and Thunder (Blixt och dunder), directed by Anders Henrikson and also starring Hasse Ekman, Frida Winnerstrand, Marianne Aminoff and Sickan Carlsson. Also starring in her first film in 1938 was Sif Ruud who appeared with Linnea Hillberg, Olga Hellquist, Gudrun Lendrup and Birgit Rosengren in Kloka gubben, directed by Sigurd Wallen and written by Gosta Werner. Hortensia Hedstrom that year appearred in her first film, Svensson ordinar allt, directed by Theodor Berthels. Co-scripted by Berthels and Gosta Werner for Svea Film, it stars Swedish silent film director George af Klerker, Karin Albihn, Sally Palmblad, Helga Hallen and Olga Hellquist. Anders Henrickson brought Tutta Rolf, Mimi Pollack and Karin Swanström to the screen in 1938 in the film The Great Love (Den stora Karleken) which he wrote and directed for Wivefilm, Stockholm. That year Gunnar Fischer photographed his first film, Only a Trumpter (Bara en trumpetare), scripted by Torsten Lundqvist and also directed by Henrikson. Director Nils Jerring in 1938 brought Wera Lindby and Ruth Weijeden to the screen in the film Figurligt talat, photographed by Martin Bodin. Ragnar Hylten-Cavallius that year directed Lars Hanson and Karin Ekelund in the film Wings around the Lighthouse (Vingar kring fyren), Cavallius also having the screenplay. Gustaf Molander in 1938 directed Ingrid Envall in her first film Dollar, starring Georg Rydeberg, Tutta Rolf, Kotti Chave and Birgit Tengroth. Filmed from a script co-written by Stina Bergman, the cinematographer to the film was Ake Dahlqvist. Dollar begins as a film of interior shots and Molander tracks with his characters as he cuts between close shots, oftent cutting with the camera one moment and abruptly cutting to brief dialouge shots, or in between fairly quick dollyshots and close shots positioned from varying angles during an early card game scene. In the adjacent interior scene, Ingrid Bergman dances with her own shadow and the shadow of her parrot as Molander's camerawork is moved into a drawing room with four women, each crossing the set untill the men and women later pair together, a pairing together that locates the rest of the film in ther interior of a ski resort. The pace established by shot legnth then slows down and the editing becomes less pronounced as the men and women are the kept together more often as a group, more often in full shot as the storyline relies almost entirely upon dialouge for its development as each character crosses the set from one conversation to the next. Molander often cuts quickly after a line of dialouge, often constructing the shot-structure of the individual scenes by cutting on action. The is only one character other than the one played by Edvin Adolphson introduced during the film, that of an actress from the United States, Mary, the dollar princess. Sven Thermaenius that year photographed the film Du gama du fria, written and directed by Gunnar Olsson and starring Hilda Borgstr?m, Karin Ekelund, Sigurd Wallen and Gull Natrop. The film was produced by AB Europafilm. Kaj Aspegren directed his first film, Studieresan, in 1938, photographed by Erik Bergstrand and starring Signe Lundberg-Settergren and Marta Dorff. In 1939, Victor Sjostrom appeared as an actor in two films,The Old Man's Coming (Gubben kommer) ,with Birgit Tengroth, Olaf Molander, Aino Taube and Tora Teje, directed by Per Lindberg, and in Towards New Times (Mot nya tider), directed by Sigurd Wallen and starring Carl Barklind, Anna Olin and Marianne Aminoff. Per Lindberg in 1939 also directed the film Glad dig din Ungdom, starring Birgit Tengroth, Hilda Borgstr?m, and Anna Lindahl. Photographed by Ake Dahlqvist, the film was co-scripted by Vilhelm Moberg with Per Lindberg and Stina Bergman from his novel Sankt Sedebetyg. Weyler Hildebrand in 1939 directed Sickan Carlsson and Ake Ohberg in Landstormens lilla Lotta, scripted by Torsten Lundqvist. Rolf Husberg began as an assistant director to the film Giftasvuxna dottrar (1933). He directed his first film, Midnattsolens in 1939. Gustaf Molander used the talented pioneer Julius Jaenzon in 1939 to photograph Filmen om Emelie Hogvist starring Signe Hasso and Elsa Burnett, the first film in which Karin Norgren had been given a small role. Elsa Burnett also starred in Molander's film Ombyte fornojer, with Tutta Rolf. Both films were scripted by Gösta Stevens. Signe Hasso would also that year appear in the film Us Two (Vi Twa), directed by Schamyl Bauman and starring Ilse-Norre Tromm and Gunnar Bjornstrand in an early film role. Schamyl Bauman in 1939 directed Anders Henriksson and Sonja Wigert in the film Her Little Majesty (Hennes Lilla Majestat), the film also starring Swedish film directors Carl Barklind and Gunnar Hoglund. Also directed by Schamyl Bauman that year was the film Efterlyst, photographed by Hilmer Ekdahl and starring Edvin Adolphson, Birgit Rosengren, Isa Quensel, Carin Swensson and Linnea Hillberg. Anders Henrikson in 1939 directed the film Valfangare, with Tutta Rolf. Ragnar Frisk directed Ann-Margret Bergendahl in her first film in 1939, Den Moderna Eva, photographed by Karl-Erik Alberts and starring Ake Uppström. Siv Ericks appeared in her first film that year Rosor varje kvall, directed by Per Axel-Branner. Also in the film are Carl Barklind, Hjordis Petterson, Ake Ohberg and Tore Lindwall. Gideon Wahlberg in 1939 directed Ann Mari Udderberg and Naemi Briese in the film We from the Theater (Vi som gar scenevagen). Gosta Rodin during 1939 directed the film Charmers at Sea (Sjocharmorer) produced by Fribergs Filmbyra and photographed by Albert Rudling. The film stars Aino Taube, Karin Swanstrom, Marianne Lofgren and Ullastina Rettig. Both Sigurd Wallen and Olaf Molander appeared in front of the camera with Britt-Lis Edgren in the 1940 film A Big Hug (Stora Famnen), Britt-Lis the daughter of the director of the film, Gustaf Edgren. The film was photographed by Julius Jaenzon and also stars the Swedish actresses Gerda Lundqvist and Signe Hasso. Gustaf Molander in 1940 directed the film A, but one lion (En, men ett lejon) with Fridtjof Mjoen and Annalisa Ericson. The screenplay to the film was written by G?sta Stevens and again, Molander would be behind the camera while Julius Jaenzon was the film's photographer. On the marquee that year, along with the name Aino Taube, was the film Everybody at His Station (Alle man pa post) written by Torsten Lundqvist and directed by Anders Henrikson, the assistant director to the film Ragnar Fisk. That year, Alf Sj?berg wrote and directed the films They Staked Their Lives (Med livet som instats) and the first film in which the actresses Barbro Flodquist and Hedvig Lindby were to appear, and Blossom Time (Den blomstertid), photographed by Harald Berglund with Goran Strindberg as assistant cameraman and starring Sture Lagerwall, Gerd Hagman, Carl Barklind and Arnold Sj?strand. Barbro Flodquist also that year appeIn ared in the film Hanna i societen, directed by Gunnar Olsson and starring Elsa Carlsson and Carl Barklind. Schamyl Bauman in 1940 directed the films Heroes in Yellow in Blue (Hjaltar i gult och blatt), starring Tollie Zellmann, Barbro Kollber and Emy Hagman, and An Able Man (Karl for sin hatt), starring Birigit Tengroth, Vera Valdo and Gull Natrop starring Ake Ohberg directed his first film in 1940, Romance (Romans) in which Fritiof Billqvist appeared. Introduced to the screen that year by Ragnar Arvedson, Eva Henning premiered in the film Gentleman att hyra, photographed by Martin Bodin. Sigge Furst and Mimi Pollack also appear in the film. June Night (Juninatten) was directed in 1940 by Per Lindberg. After directing June Night, the following year Per Lindgren directed the the film The Talk of the Town (Det sags pa stan, 1941), photographed by Ake Dalqvist and starring Marianne Lofgren, Gudron Brost, Elsa Marianne von Rosen, Mona Martenson, Elsa Widborg and Bojan Westin, in what was to be her first appearance on the screen. Bojan Westin has recently appeared in several films, including Brevbaravens hemlighet (2006, Hanna Andersson), Koffein (2007, Akesson, Olsson) and Dorotea i dodsriket (2007, Kati Mets). The assistant director to the film Talk of the Town was Arne Mattsson. Produced by Svea Film, Stockholm, it was one of the first two films in which Eva Dahlbeck was to appear, the other being Only a Woman (Bara en kvinna), directed by Anders Henrikson for Wivefilm, Stockholm and photographed by Elner Akesson. Also starring in the film is Karin Ekelund. Anders Henrikson also that year directed Anio Taube in Life Goes On (Livet gar vidare), which he cowrote with Begnt Idestam-Almquist. The film also stars Hasse Ekman. Director Gunnar Skoglund that year teamed Karin Ekelund and Edvin Adolphson in the film Woman on Board (En Kvinna Omboard), photographed by Hilding Bladh and also starring Sigge Furst. Ragnar Arvedson in 1941 directed the films Sa tukta en akta man, the assistant director to the film Arne Mattsson. Ung dam med tur, photographed by Harald Berglund and written by Torsten Floden, was also directed by Ragnar Arvedson in 1941, it starring Sonja Wigert, Elly Christiansson, Stina Hedberg and Ake Ohberg. That year G?sta Cederlund directed his first film, Fransson den forskracklinge with Hilda Borgstr?m, Rune Carlsten, Elof Ahrle, Sonja Wigert and Marianne Lofgren as well as the film Uppat igen starring Elof Ahrle, Vera Valdor and Berit Rosengren. In 1941, Gunnar Olsson directed Mai Zetterling in her first film, Lasse-Maja, photographed by Harald Bergland and written by Torsten Floden, in which Zetterling starred with Margit Manstad and Sture Lagerwall. She next appeared in Sunshine Follows Rain/Rain Follows the Dew (Driver dag faller regn, 1946), directed by Gustaf Edgren and based on a novel by Margit Soderholm. Alf Sj?berg in 1941 directed the film Home from Babylon (Hem fran Babylon) starring Gerd Hagman and Arnold Sjostrand. Gustaf Molander in 1941 directed Tonight or Never (I natt-eller aldrig) with Tollie Zellman and Bright Prospects (Den ljusnade framtid) with Elly Christiansson, Julius Jaenzon the photographer of the latter. Produced by Svea Film in 1941, Cosy Barracks (Hemtreunad i kasern) was directed by Gosta Rodin and photographed by Erik Bergstrand. The film stars Tollie Zellman, Anna-lisa Baude, Annalisa Ericson and Rut Holm. Anders Henrikson in 1942 both directed and starred with Sonja Wigert in both Youth in Chains (Ungdom i bojor) and Fallet Ingegerd Bremssen, which, starring Ivar Kage and G?sta Cederlund, was the first film in which Siv Thulin had been given a small role. Anders Henrikson also starred with Sonja Wigert inBlod och eld (1945), the assistant director to the latter Bengt Palm. Gunnar Skoglund in 1942 directed Maj-Britt Nilsson in the film Varat gang. Gunnar Fischer worked as an assistant camerman in 1942 under Swedish cinematographer Ake Dahlqvist on a film edited by Oscar Rosander, Jacob's Ladder (Jacobs Stege), directed by Gustaf Molander and starring Birgit Tengroth, Marianne Lofgren and Viran Rydkvist. Gustaf Molander also that year directed Hilda Borgstr?m, Erik Hampe Faustman, Eva Dahlbeck and Anders Ek in the film Ride Tonight (Ride This Night/Ride Tonight, Rid i natt, 1942), based on a novel by Vilhelm Moberg. Doctor Glas (Doktor Glas, 1942), adapted from a novel by Hjamar Soderberg by Rune Carlsten and directed by Gustaf Edgren, was to include the actresses Hilda Borgstr?m and Irma Christenson, it also having been the first film in which Victor Sj?str?m's daughter, Guje Lagerwall, was to appear. Hugo Bolander directed his first two films in 1942, Three Glad Fools (Tre glada tokar), and Sextuplets (Sexlingar). Bolander had been the assistant director to the film Steel (Stal, 1940), directed by Per Lindberg, a film that had starred not only Alf Kjellin and Gudron Brost, but Signe Hasso, Karin Swanstrom and Torre Svennberg. The following year, Erik Hampe Faustman directed his first film , Night in the Harbor (Natt i hamn, 1943) and scripted the film, its cinematographer having had been being Gunnar Fischer. Eric Hampe Faustman also directed the film Sonja that year, which he co-scripted with G?sta Stevens, it having starred Birgit Tengroth, Else Albiin, Gunn Wallgren and Sture Lagerwall. Sonja was photographed by cinematographer Hilding Bladh. Hampe Faustman that year appeared as an actor in Gustaf Molander's film Alsking, self give me (Alsking jag ger mig), which was also written by Gösta Stevens. Starring with Faustman in the film were Sonja Wigert, Elsa Carlsson, Marianne Lofgren and Carin Swensson. Haustman followed in 1944 by directing the film The Girl and Devil (Flickan och Djavulen), starring Hilda Borgstr?m and Torgny Anderberg. In 1943, Olof Molander directed Mimi Nelson in her first film, I Slew (Jag drapte), also starring Mai Zetterling, Anders Henrikson, Hilda Borgstr?m and Irma Christenson. That year G?sta Cederlund directed her in the film Kungsgatan, which also starred Barbro Kollberg. Ragnar Frisk in 1943 directed For lack of evidence (I brist pa brevis), scripted by Per Holmgren and Arne Mattsson and starring Birgit Tengroth and Holger Lowenadler. Frisk also that year directed Nils Poppe in the film The Actor (Aktoren), photographed by Hilmer Ekdahl and co-starring Sigge Furst and Agda Helin. Begnt Janzon in 1943 wrote and directed the film We Met the Storm (Vi Motte Stormen), with Stig Jarrel and Anna-Lisa Baude, for AB Nordisk-Filmproduktion. Ivar Johansson that year wrote and directed the film Young Blood (Ungt Blod), with Toivo Pawlo and Olof Widgren. Johansson also that year directed Ake Gronberg in the film Captured by a Voice (Fangad av en rost) photographed by Ernst Westerberg and produced by Film AB Lux. Sigge Furst that year also starred in the film Ghosts, Ghosts (Det Spokar, Det Spokar) directed by Hugo Bolander and produced by Film AB Image. Eva Henning that year appeared in the film The Awakening of Youth (Nar Ungdomen vaknar), directed by Gunnar Olsson. Cinematographer Sven Nykvist photographed his first film, along with photographer Olle Nordemar, in 1943, In the darkest Corner of Smaland (I morkaste Smaland), under the direction of Schamyl Bauman, the film starring Sigurd Wallen, Eivor Landstrom, Eric Petschler and Gull Natrop. Silent film director Eric Petschler also appears in the film. Gunnar Skoglund in 1943 directed the film En var i vapen starring Ingrid Borthen, Eric Hampe Faustman, Rita Sandstorm, Fritiof Billquist and Birgit Lindkvist in what was to be her first film appearance. Bjorge Larsson during 1943 directed the film A Girl for Me (En Flickan for mej) for Europa Film, it starring Sickan Carlsson, Kerstin Lindahl and Hilda Borgstrom. Ragnar Arvedson in 1943 brought Irma Christenson and Ann-Margret Bjorlin to the screen in the film Herre med Portfolj. Gustaf Molander in 1944 brought the film The Invisible Wall/The Unseen Wall (Den osynliga muren), starring Inga Tiblad, Irma Christenson, Hilda Borgström and Britta Brunius, to the screen. Swedish film directors Rune Carlsten and Eric Faustman also appear in the film. In 1944, Gunnar Ollsson directed The Turn of the Century (Nar seklet var ungt) his following it in 1945 with The Happy Tailor (Den Glade skraddaren), both films being among those in which Fritiof Billquist had appeared. The Turn of the Century (Nar seklet var ungt) had been the first film in which Brita Billsten had been given a small role, her having had appeared in it with Stina Hedberg, Marianne Gyllenhamar and Mim Eklund. En dotter fodd, the first film in which Ruth Kasdan was cast, was directed in 1944 by Gosta Cederlund and starred Barbro Kollberg. Ake Ohberg in 1944 directed Swedish Film actress Karin Ekelund in the film Snowstorm (Snostromen), photographed by Harald Berglund. Also appearing in the film are Liane Linden and Helga Brofeldt. Ivar Johansson that year directed Birgit Tengroth in the film Skogen ar var arvedel, the assistant director to the film Arne Mattsson. Weyeler Hildebrand in 1944 directed Sonja Wigert, Mona Martenson and Gunnar Bj?strand in the film My People are Not Yours (Mitt folk ar icke ditt). Ragnar Falck, who appeared as an actor in several Swedish Films during 1930-1960, directed his first two films, Fia Jansson from the South Side (Fia Jansson fran Soder), for Kungsfilm, and Your Relatives Are Best (Slakten ar blast), for Wive Film, that year. Fredrick Anderson in 1944 brought Ingid Bouthen, Annelie Thureson and Eivor Rolke to the screen in the film Karleck och allsang. Rune Carlsten that year wrote and directed the film Count only the Happy Moments (Rakna de Lyckliga Stunderna Blott), with Sonja Wigert, Arnold Sj?strand and Eva Dahlbeck. Gunnar Skoglund in 1944 brought Vibeke Falk and Monicka Tropp to the screen in the film The Clock of Ronneberga (Klockan pa Ronneberga). Alf Sjoberg that year wroted and directed the film The Royal Hunt (Kungajakt), starring Inga Tiblad. Filmed in Sweden and directed by Carl Th. Dreyer, Two People (Tva Manniskor, 1944) was not released in Denmark due to low box office returns and a second Swedish film to be directed by Dreyer was cancelled. Dreyer reportedly had wanted Anders Ek and Gunn Walgren to portray the couple upon which the on screen action of the film is centered, his describing the female character of the film as being "young warmblooded and sensual". When filmed the couple was portrayed quite differently by Wanda Rothgart and George Rydeberg. Sailors (Blajackor 1945), directed by Rolf Husberg with Annalisa Ericson, was photographed by Gunnar Fischer. Rolf Husberg directed Siv Hansson and Ann Sophie Honeth that year in the film The Children from Frostmo Mountain (Barnen fran Frostrnofjallent), photographed by Sven Nykvist. Molander in 1945 directed Galgmannen and in 1946 directed It's my Model(Det ar min modell),starring Alf Kjellin and Maj-Britt Nilsson, both films photographed by Ake Dalqvist. The screenwriter of It's My Model was Rune Lindström. Rune Lindstrom that year wrote and directed the film Aunt Green, Aunt Brown and Aunt Lilac (Tant Grun, Tant Brun, och Tant Gredelin), starring Britta Brunius, Elsa Ebbensen-Thorblad, Irma Christenson and Sigge Furst. Cinematographer Max Wilen photographed his first film that year, Det var en gang, directed by Arne Bornebusch with Mona Martenson. Ake Ohberg in 1945 brought Barbro Kollberg to the screen in the film Girls in the Harbor (Flickor i hamn) and Eva Henning to the screen in Rosen pa Tistelon, G?sta Folke the asistant director to the latter film. Bjorge Larsson in 1945 directed Annalissa Ericson, G?sta Cederlund and Sture Lagerwall in the film A Charming Miss (En fortjussande Froken) and the film The Thirteen Chairs (13 stolar), photographed by Sven Nykvist. Adapted from the novel published by Vilhelm Moberg in 1933, Mans Kvinna, starring Edvin Adolphson, Birgit Tengroth and Gudron Brost was that year directed by Gunnar Skoglund; coscripted by Vilhelm Moberg, Ankeman Jarl, starring Ingrid Backlin and Maritta Marke was that year directed by Sigurd Wallen. The assistant director to the latter was Lennart Wallen. The Serious Game (Den Allvarsamma leken, 1945), based on a novel by Hjalmar Soderberg and starring Viveca Lindfors and Eva Dahlbeck, would be directed by Rune Carlsten. That year was also to mark the appearance of a new director of Swedish film, Ingmar Bergman, his writing his own screenplay to the film A Young Girl's Troubles (Kris) as an adaptation of the play A Mother's Heart (Moderdyret), penned by Leck Fischer. The cinematographer to the film, which starred Inga Landgre as its central character, was Gösta Roosling and its editor was Oscar Rosander. It was during 1942 that Ingmar Bergman had begun adapting screenplays for Svensk Filmindustri. As noted by Donner, the first had been a screen version of the novel Katinka, written by Astrid Varing; noted by Peter Cowie the first had been a novel entitled Scared to Live. In his autobiography, Images, Ingmar Bergman writes without noting the author of the novel, and explains that after he was given an office,the script department was under Stina Bergman, to whom, it almost completely belonged, seemingly.

SWEDISH FILMsilent film

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