IMDb > Sir Arne's Treasure (1919)

Sir Arne's Treasure (1919) More at IMDbPro »Herr Arnes pengar (original title)


Overview

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Up 37% in popularity this week. See why on IMDbPro.
Director:
Writers:
Selma Lagerlöf (novel) and
Gustaf Molander (writer)
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View company contact information for Sir Arne's Treasure on IMDbPro.
Release Date:
10 December 1921 (USA) See more »
Genre:
Plot:
Three Scottish officers, including Sir Archi, murder Sir Arne and his household for a coffin filled with gold... See more » | Add synopsis »
Plot Keywords:
NewsDesk:
(2 articles)
Top Movies of the Teens
 (From Alt Film Guide. 26 March 2013, 7:33 PM, PDT)

Letters: Films lost and found
 (From The Guardian - Film News. 23 August 2010, 4:05 PM, PDT)

User Reviews:
Powerful costume drama of guilt with a side of gloom See more (7 total) »

Cast

  (in credits order) (verified as complete)
Erik Stocklassa ... Sir Filip
Bror Berger ... Sir Donald
Richard Lund ... Sir Archi
Axel Nilsson ... Torarin
Hjalmar Selander ... Herr Arne
Concordia Selander ... Herr Arne's Wife
Gösta Gustafson ... Priest
Mary Johnson ... Elsalill
Wanda Rothgardt ... Berghild
Stina Berg ... Landlady
Gustav Aronson ... Shipmaster
Jenny Öhrström Ebbesen ... Katri
rest of cast listed alphabetically:
Josua Bengtson ... Jailer (uncredited)
Georg Blomstedt ... Inn-Keeper (uncredited)
Albin Erlandzon ... Sailor (uncredited)
Yngve Nyqvist ... Coal Worker (uncredited)
Artur Rolén ... Sailor (uncredited)

Directed by
Mauritz Stiller 
 
Writing credits
Selma Lagerlöf (novel)

Gustaf Molander  writer
Mauritz Stiller  writer

Produced by
Charles Magnusson .... producer
 
Original Music by
Fredrik Emilson 
 
Cinematography by
Gustaf Boge 
Julius Jaenzon 
 
Production Design by
Alexander Bako 
Axel Sørensen 
 
Costume Design by
Axel Esbensen 
 
Makeup Department
Ester Lundh .... makeup artist
Manne Lundh .... makeup artist
 
Art Department
Axel Esbensen .... property master
 
Other crew
Alva Lundin .... title designer
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Herr Arnes pengar" - Sweden (original title)
"The Treasure of Arne" - International (English title) (bowdlerized title)
See more »
Runtime:
106 min (restored version) | 122 min (original release)
Country:
Language:
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Movie Connections:
Version of Poklad pana Arna (1967)See more »

FAQ

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21 out of 26 people found the following review useful.
Powerful costume drama of guilt with a side of gloom, 29 May 2006
Author: mgmax from Chicago

As a title in film history books, Sir Arne's Treasure always seemed like it must fall somewhere between Die Nibelungen and Ivanhoe-- an epic knightish adventure with a heavier Scandinavian feel. In fact it's a tale of guilt and doom in the classic Swedish mode, almost a chamber piece despite its grandiose division into five acts, set in an historical setting but with some of the same distilled focus and sense of inevitability as, to pick a recent example, Cronenberg's A History of Violence.

Three Scottish mercenaries (the main one, incongruously, given the jaunty name "Sir Archie"; happily his compatriots are not Sir Reggie and Sir Jughead) escape from captivity in 16th century Sweden and, driven half-mad by the winter winds and starvation, wind up slaughtering the entire household of a local lord for his treasure. Only one young, Lillian Gish-like girl, Elsalill, who hides herself during the crime, escapes-- but, being Swedish, is consumed by survivor's guilt.

This being one of those stories (like Crash or Dickens' Bleak House) where there are only eight different people in the entire country, the three, newly kitted out in finery, return to the scene of the crime and Sir Archie promptly falls in love with the survivor of his depredations and starts having guilt of his own. I'm betting you can pretty much guess how that's going to work out for the gloomy couple.

The initial acts of Sir Arne's Treasure take a little mental adjustment, as there's what we might call a high Guy Maddin quotient here, of over-the-top Nordic gloom-- the old crone (Mrs. Sir Arne) repeatedly shrieking "Why are they sharpening the knives at Brorhaven?" at the dinner table, the use of the phrase "fish wench" in a title, or a ship captain who believes that his ship is frozen in ice as God's punishment for some big crime he can't QUITE put his finger on.... The latter in particular shows the heavily moralistic hand of Selma Lagerlof (who also wrote Gosta Berling, The Phantom Chariot, etc.), who was good at setting up ripping plot mechanics but tended to impose a Victorian religious sensibility which you don't see in the best Swedish films, such as Sjostrom's The Outlaw and His Wife.

While there's a stark, In Cold Blood-like quality to the depiction of these violent events in a remote, snowbound location, we're impressed by the dramatic quality of the events themselves, not by any human sympathy that has particularly been built up for the characters to that point. And it is easy to see why distributors in other countries succumbed to the temptation to trim the film down, as Stiller allows many of the events to play out in real time, even when relatively little is going on.

It's when the film narrows its focus to the two main characters and their guilt-racked interactions that Stiller's deliberate storytelling begins to really justify itself-- the film is like the long walk to the electric chair in a Cagney movie from that point on, and the minutely detailed depiction of everyday activities not only makes the historical setting seem vividly real, but serves to cut off the possibility of outlandish movie-style heroics which will bring the story to any end other than the inevitable tragic one (which, nevertheless, contains a couple of shocking turns which wouldn't have passed muster for Errol Flynn at Warner Brothers in 1938).

Mention must be made (as theater reviewers say when they can't think of a better transition) of the cinematography of Julius Jaenzon, who pretty much shot everything that was anything in Swedish silent cinema. The word inevitably attached to Jaenzon's work is "landscape," which is to say, he and Stiller and Sjostrom were all masterful at using the forbidding country they lived in to help set the emotional tone of their scenes. When they want you to feel that someone's lonely, they stick him out walking on an icy fjord and by God, he's LONELY.

Also, as we all know, the moving camera as an expressive device (rather than just a way of showing off your fancy set, as in Intolerance) wasn't invented until The Last Laugh in 1924, so we can all throw out those pages of our film history books since one of the most striking things about this film is the extensive use of the moving camera throughout. Since the moving camera tends to imply the presence of the director and thus to deny the possibility of free will for the characters (which is why it works so well in things like noirs, or Max Ophuls' adaptations of Schnitzler, or Kubrick movies about unstable hotel caretakers being taken over by malevolent ghosts), it's a perfect artistic choice for this story, and one that strongly reinforces the atmosphere of destiny and doom while also keeping our focus on the mental state of characters who remain front and center within the shot, rather than on how they physically move from one place to another within a shot.

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