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IMDb > Sult (1966)
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Overview

User Rating:
8.0/10   714 votes
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Up 7% in popularity this week. See rank & trends on IMDbPro.
Director:
Henning Carlsen
Writers:
Henning Carlsen (writer)
Knut Hamsun (novel)
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Contact:
View company contact information for Hunger on IMDbPro.
Release Date:
12 August 1968 (USA) more
Genre:
Drama more
Plot:
In 1890, Pontus, the starving writer, wanders the streets of Christiania, in search of love and a chance to get his work published... more | add synopsis
Plot Keywords:
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Awards:
5 wins & 1 nomination more
User Comments:
Begger's Banquet Napkin more

Cast

  (Complete credited cast)
Per Oscarsson ... Pontus
Gunnel Lindblom ... Ylajali
Birgitte Federspiel ... Her sister
Knud Rex ... Landlord
Hans W. Petersen ... Grocer
Henki Kolstad ... Editor
Roy Bjørnstad ... Konstantin
Sverre Hansen ... Painter
Pål Skjønberg ... Constable
Else Heiberg ... Landlady
Lise Fjeldstad ... Little girl
Carl Ottosen ... Sailor
rest of cast listed alphabetically:
Bjarne Andersen
Wilfred Breistrand
Osvald Helmuth ... Pawnbroker
Sigrid Horne-Rasmussen ... Landlady
Ola B. Johannessen
Lars Tvinde
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Additional Details

Also Known As:
Hunger (USA)
Svält (Sweden)
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Runtime:
112 min
Language:
Danish
Sound Mix:
Mono
Filming Locations:
Oslo, Norway
Company:
Sandrews more

Fun Stuff

Movie Connections:
Version of Hunger (2001/I) more

FAQ

This FAQ is empty. Add the first question.
6 out of 10 people found the following comment useful:-
Begger's Banquet Napkin, 28 February 2007
Author: tedg (tedg@FilmsFolded.com) from Virginia Beach

Superficially, this is a collection of tableaux concerning a writer who is so caught up in the identity of a writer that he cannot write, and therefore is starving, both in terms of food, and in terms of the written product. Its actually pretty satisfying at this level. We get it. The character within gets no such nourishment but we as viewers do.

So there's a sort of twist built into the thing, we see a tubelocked artist and depend on an efficient artist to receive the art that conveys this. That means the manner of the way it is constructed matters, and that's why you may want to see this. Because its a complex calculation that the filmmaker has to make. There's a balance here between art that escapes the artist and art that doesn't.

I don't know the book, but presume it is rooted in internal dialog, noted here in a few spots with muted tones and the appearance of our artist as listener for his ramblings. But it is an afterthought in the film. The real center here is in the antiseptic stance we are placed in as viewers. We see but cannot touch. We always find ourselves just a bit beyond the perimeter of this man's artistic reach. Its us that cannot reach him, not he that has trouble reaching us.

Oddly, this reversal works. It may be just me and my deep obsessions with narrative agency, but I think a deliberate decision was made here as sort of role reversal and symmetric reflection at the same time. Its characteristic of Scandanavian film problemsolving.

Ted's Evaluation -- 3 of 3: Worth watching.

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