In "Skadeskutt" we follow the couple Einar and Else Wang in a painful drama about love, happiness, sorrow and eternal damnation. About a couple's struggle trying to get pregnant and the ... See full summary »

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Cast

Credited cast:
Carsten Winger ...
Einar Wang
Eva Bergh ...
Else Wang
Sigrun Otto ...
Elses mor
Gunnar Simenstad ...
Rolf Lunde, doctor
Einar Vaage ...
Asyldirektøren
Anders Sundby ...
Overlegen på 6 avd
Oscar Egede-Nissen ...
Reservelegen på 6 avd
Brita Bigum ...
Liv, sykesøster
Ragnvald Wingar ...
Alkoholikeren
Klara Wang ...
Oversøster
Rest of cast listed alphabetically:
Sverre Andersen ...
Barekeeperen
Nona Bækken ...
Fru Aasen, pasient
Otto Carlmar ...
Direktøren for boligbygg
Daggen Dybberg ...
Wangs kontordame
Veronica Foyn Christensen ...
Inger, sykesøster
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Storyline

In "Skadeskutt" we follow the couple Einar and Else Wang in a painful drama about love, happiness, sorrow and eternal damnation. About a couple's struggle trying to get pregnant and the despair of not succeeding. About psychological disorders and the society's insane judging of people with such problems. A nationwide press was impressed with "Skadeskutt". The director Edith Carlmar, one of the first female directors in Norway, was compared with Hitchcock for her work. For actor Carsten Winger, his portrayal of the character in the movie was considered a victory and a big achievement. "A sure success", "Impressive" and "A victory for Norwegian Films" are some lines from the critics. "Skadeskutt" is one of the breakthroughs within Norwegian film making. Written by Anonymous

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Drama

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27 August 1951 (Norway)  »

Also Known As:

Damage Shot  »

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1.37 : 1
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1951 view on the mentally ill
6 April 2006 | by (Norway) – See all my reviews

Einar and Else have found happiness together, in a marriage that lacks only one thing; a child. Einar, who has a tendency towards melancholy, enters a deep depression, bordering to the psychotic, and the handling of this is the plot of the film.

One thing about watching a Norwegian film from 1951 is the stiff way they talk and the generally theater like acting. But this one even has a political element, easily fascinating 55 years after (and counting). I can't bring myself to doubt the general concern, implied in the film, for the way people with mental disorders are viewed in society (a theme discussed widely in the film is the "fear most people feel for the insane"). But then again - the glorification of electric shock therapy is just - insane, no pun intended. "It's like antibiotics for the soul". People really did believe that.

Anyway, Edith Calmar was one of the first recognized female Norwegian film directors, among other things was the first Norwegian AND a very early woman, to direct film noir. I wouldn't really call this film film noir, but you can certainly recognize some of the aesthetic.


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