Hedvig Jensen is a famous ropewalker and is known to her public as Elvira Madigan. She meets Lieutenant Sixten Sparre, a Swedish officer who is married and has two children. They both ... See full summary »
During a strike strike-breakers are being transported to Lunde, where they are assaulted by the strikers. The military are sent in. On the 14th May 1931 there is a confrontation between ... See full summary »
An American actress inherits a castle in Transylvania. What she doesn't know is that her ancestor, the Baroness Catali, was in actuality a vampire countess, and emerges from her tomb to ravage the nearby village and Catholic seminary.
Following his manifesto for a new Swedish cinema, director Widerburg started his career with this realist tale of young woman, Britt, who has two flings, but finds herself with difficult decisions when she finds herself pregnant.
In Stockholm, on St. Lucy's feast day, a bandit daringly robs a crowded post office. Within a fortnight, two witnesses are dead. Two cops from vice squad, Johansson and Jarnebring, who were... See full summary »
Tomas von Brömssen,
Six year old Johan, a.k.a. Fimpen, loves football. One day his talents are discovered. It doesn't take long before Fimpen gets to travel around with the national team. Fimpen becomes an ... See full summary »
The film is based on a true occurrence in Sweden in 1988. A Finish couple murdered a young boy and his parents when they prevented the theft of the son's bicycle. The film tries to describe... See full summary »
Hedvig Jensen is a famous ropewalker and is known to her public as Elvira Madigan. She meets Lieutenant Sixten Sparre, a Swedish officer who is married and has two children. They both decide to run away, but since Sixten deserted the army, he cannot find any job and the couple encounters many hardships. Moreover, while on the run, Sixten meets a friend who tries to convince him to come back to his country and family. Written by
To accentuate Elvira Madigan's mixed descent her Swedish voice was dubbed by Danish actress Yvonne Ingdal, while Swedish actress Pia Degermark who acted the role dubbed the few scenes where she spoke Danish. This meant she always spoke with an accent. See more »
Piano Concerto No. 21 in C major, K. 467 (second movement: Andante)
Music by Wolfgang Amadeus Mozart (as Mozart)
Performed by Géza Anda (piano and conducting)
Courtesy of Deutsche Grammophon
Main theme See more »
One of the simple pleasures of life is to sit in a darkened theater and have a film capture your soul, not as a single person, but as the whole sigh of the room. I saw this in 1967 in Boston, in a makeshift theater. This was at the height of the flower revolution, when Boston was the intellect of the emerging 'counter' culture.
This film found a hungry audience -- we and it fed each other. At the same time down the road were Hollywood projects on (what we though was) the same notion: passion before everything, and the purer the passion the clearer the beauty. Life matters less than living. 'Bonnie and Clyde,' and 'The Graduate' seemed slick and pale in comparison then and more so now.
For decades, I recalled many of the images:
-- the raspberries and cream (which she bought by selling her image)
-- her luminescence, her dainty vomit, the fish in her skirt, the attentive query about eggs
-- the fainting when she is discovered by innocence (which we ourselves did at the very beginning through the same child's eyes)
-- 'There are times when you don't question the cost'
and of course:
-- the release of the butterfly, and the reluctance of the filmmaker to let us release the image.
This film succeeds because it is so simple, but its simplicity is not accidental. The notion of equating Elvira with the music by bringing the musicians into the story shows extraordinary skill. I can think of no other case where a classic piece of music is renamed because of a film.
At the time, I recall great discussion of the book Sixten carried around. Like Hamlet's book, it 'mattered,' but I have forgotten its importance. I remember much in the underground press about the self-referential nature: the passion and beauty of the characters and so with the film: the simple commitment to no plan of both: and the accepting of the consequences by both for meditative obsession.
But another of the simple pleasures of life is to live long enough to see two of ourselves: the recalled initial engagement with the film and the current one. I wish this pleasure on all of you. Oh how we have all changed. (I strongly suspect that no person who was not there will find any traction with this film, but perhaps others like it.)
And watching this now, I discover I'm more of an 'In the Mood for Love' kind of guy. Same ethic. Same commitment to enter the unknown. But the passion if stronger is more diffuse and less selfish. I recommend seeing both films. Let me know.
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