The opening sequence of Valdemar Psilander "preparing" for his role is pretentious and ridiculous, introducing the overly theatrical performance Psilander gives as an evangelist preacher. From the three films I've seen with him, Psilander seemed an okay actor given film acting at the time, but, here, he falls folly to the common way of pretending to be religious and moral in a film that's supposedly the same, that is, by being stiff and rigid in pseudo-reverence. Apparently, many filmmakers thought muscle tension and lacking vivacity were next to godliness.
Furthermore, the film's pacing is rather slow and meandering (but at least it's only an hour long). The exception to all of this is the beginning of the flashback sequence. The lurid episodes of sex and crime leading to the protagonist's imprisonment and reformation are congruous with the thread of sensational film in Danish silent cinéma. The rest of the film (except for the climax), with its lackluster reverence, is quite opposed to what one expects from the era.
There are also some interesting film techniques here. A zoom and dissolve simultaneously for the transitions around the flashback to the sensational. There's low-key lighting, including a silhouette of a woman undressing. The filmmakers actually stopped filming to add lighting before resuming scenes when the preacher turned on a lamp, seemingly lighting the set by itself. The window that features prominently in these scenes at the preacher's room adds to the overall effectiveness of the mise-en-scène.
(By the way, the timing and execution of that gunshot scene sure was wretched.)
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