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Sången om den eldröda blomman (1919)

Olof Koskela is the son of a rich farmer. He seduces young girls at random, until an inconsistent gesture rushes him away from home and his carefree lifestyle. Based on the 1905 novel by Finnish author Johannes Linnankoski.

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(titles), (novel) | 2 more credits »
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Cast

Credited cast:
... Olof Koskela
... Annikki
... Elli (as Lillebil Christensen)
Louise Fahlman ... Olof's Mother
Axel Hultman ... Olof's Father
... Log Driving Chief
Hjalmar Peters ... Kyllikki's Father
... Kyllikki
... Kyllikki's Fiance
Rest of cast listed alphabetically:
Doris Nelson ... Prostitute
Karl Persson ... Lars Hanson's Double
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Storyline

Olof is the restless son of a wealthy farmer. He meets Annikki and brings her to the evening dance. But at the dance he abandons Anniki for another girl, the maid Elli. Later that evening, the couple is surprised by Olof's mother. The next day, his father is angry about Olof being with a simple maid. After a violent quarrel Olof hits his father and therefore must leave his home. Written by Ulf Kjell Gür

Plot Summary | Add Synopsis

Genres:

Drama | Romance

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Details

Country:

Release Date:

14 April 1919 (Sweden)  »

Also Known As:

Flame of Life  »

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Box Office

Budget:

SEK 180,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

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Technical Specs

Runtime:

| (original)

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Connections

Version of Laulu tulipunaisesta kukasta (1971) See more »

Soundtracks

Pièces de violes, book 2. Les folies d'Éspagne
Composed by Marin Marais (1701)
See more »

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User Reviews

Required rather less Hanson and more Jaenzon
29 October 2017 | by See all my reviews

This is not amongst my favourite Stiller films. The whimsical style of the curious 1905 Finnish (verse?) novel on which it is based, Laulu tulipunaisesta kukasta is more than a shade irritating although, it is true, that it makes a pleasant change in some ways from the rather over-substantial diet of Selma Lagerlof that formed the basis for so many Swedish films of the period. Nor do I find Lars Hanson at his best in these more manly role in which he was sometimes cast and for which he does not really have the "carrure". As with Cocteau and Jean Marais (who was however a more genuine cascadeur), one suspects Stiller was himself more than a little starry-eyed about his young star at this point in their respective careers.

The narration in demi-detached chapters is too patchy to provide good continuity. In the distinctly dark sixth chapter, there is a fine scene where Olaf talks to himself in a mirror as though to his "double" (evidently influenced by the German classic Der Student von Prag) but, excellent though the scene is, one is not very clear on how one has arrived at that point. And the morality of the final chapter is, to say the least, odd.

The compensation is the superb (as ever) cinematography of Henrik Jaenzon and the evocation of life amongst the river log-drivers. Had there been rather more of this and rather less of Hanson's romancing, it could have been a very good film....

I shall leave this world where men are men with a touch of the equally whimsical style of Herr von Galtizen which we all know in love, in words graven on the hearts of every true Marxist*, that I shall now myself return to the closet where men are empty overcoats.

*tendance Groucho, need I say.


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