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.
EROTIKON surely pushed the boundaries of what was acceptable on the screen in 1920: Irene, the bored wife of a distracted entomologist, pursues a womanizing aviator, but she may actually be... See full summary »
Three Scottish officers, including Sir Archi, murder Sir Arne and his household for a coffin filled with gold. The only survivor is Elsalill, who moves to relatives in Marstrand. There she ... See full summary »
Thomas Graal's a screenwriter, is very fond of his secretary Bessie. Overtaken by a kiss by Thomas she runs away. In his misfortune Thomas writes a screenplay inspired by Bessie. But she has not been really honest with him .
Gösta Berling is a young and attractive minister. Because he is an alcoholic and his preaches are far too daring, he is finally defrocked. He leaves the town in disgrace and arrives at ... See full summary »
Gunnar Hede, a young Swedish man, wants to become a professional musician, but when his father suddenly dies he is pressured by his family to take over the family business, raising and ... See full summary »
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
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.
0 of 0 people found this review helpful.
Was this review helpful to you?
| Report this