Ingeborg Holm's husband opens up a grocery store and life is on the sunny side for them and their three children. But her husband becomes sick and dies. Ingeborg tries to keep the store, ... See full summary »
Against a dark background, several bright, curved or rounded shapes pulse towards the center of the screen, one at a time. They are followed by many other shapes, some irregular, some ... See full summary »
An isolated house in deserted area is too remote for a servant, who leaves a note, quietly exits the back door, and puts the key under the mat. Alone in the house is a mother and her infant... See full summary »
At a tramcar in Copenhagen the piano teacher Magda Vang meets the young man Knud Svane, who falls in love with her. She is invited to spend the summer with him and his parents at the ... See full summary »
Come take an avant-garde walk in the Montparnasse of the late 1920's. This district of Paris, filmed in a most unusual way, shows how dedicated it is to art. Visit its art galleries and ... See full summary »
Filippo Tommaso Marinetti
As evidenced by this film, Danish filmmakers didn't always give much attention to a film's story. I was left with much to infer here. Valdemar Psilander, the major Danish star of the era beside Asta Nielsen, plays a son whose relationship with his mother suffers due to his playboy pursuits and resulting debts. He also becomes romantically involved with his lender's daughter. Anyhow, the story isn't so important, or interesting. Neither is Psilander, although he does seem natural compared to the theatrics of the actress playing his mother.
Of more interest is the attention to mise-en-scène instead of story, plot, editing or camera movement (none of which were very well developed at this time in film history anyway). Nordisk's production values are quite good for the time, which is to be expected, as they were a dominant film producing company then. For the most part, scenes are long takes--keeping cuts to a minimum. Director August Blom fills scenes with multiple, eye darting, actions, such as at the restaurant. That's from the theatre. More principle to cinema is the mirror motif and low-key lighting. The mirror in the room of several scenes between the mother and her son often serves to show off-screen action, so, for example, we see the son is entering the room before he appears in the shot beside his mother. This allows for less crosscutting. There is one scene with stark low-key lighting (which also features a mirror), a now prevalent film technique, which was probably first to be found prominently in Danish cinema. So, in, primarily, America, one can see the first important stages in dissecting a scene, while Danish filmmakers worked on putting in scene.
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