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Luffar-Petter (1922)

Peter joins the army after fleeing from the repercussions of a love affair. Greta is one of the daughters of a mayor from the army. Her father is the major, at whose town Peter's army ... See full summary »

Director:

Erik A. Petschler
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Cast

Credited cast:
Anna Brandt Anna Brandt ... Ottilia Asterblad
Gucken Cederborg ... Nordbergh
Agnes Clementsson Agnes Clementsson ... Amalia Clämming
Valdemar Dalquist ... Matteus Dahlqvist
Greta Garbo ... Greta (as Greta Gustafsson)
Mona Geijer-Falkner ... Mona-Lisa Olsson
Mary Gräber ... Ms. Brune
Adolf Hultgran Adolf Hultgran ... Allan
Helmer Larsson Helmer Larsson ... Juppe Larsson
Carl F. Olsson Carl F. Olsson ... Fredrik Olsson
Erik A. Petschler ... Luffar-Petter / Erik Silverhjälm
Oscar Rudin Oscar Rudin
Tyra Ryman Tyra Ryman ... Tyra
Carl-Gunnar Wingård ... Manservant
Iréne Zetterberg Iréne Zetterberg ... Irene
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Storyline

Peter joins the army after fleeing from the repercussions of a love affair. Greta is one of the daughters of a mayor from the army. Her father is the major, at whose town Peter's army regiment is stationed. Peter's escapades include a love affair with Greta. Plus an impersonation, and end with his marrying a rich widow. Written by Ulf Kjell Gür

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Genres:

Comedy

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Details

Country:

Sweden

Release Date:

26 December 1922 (Sweden) See more »

Also Known As:

Peter the Tramp See more »

Company Credits

Production Co:

Petschler-Film See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Connections

Edited into Hollywood: The Dream Factory (1972) See more »

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User Reviews

 
Garbo's First Role, and First Embarrassment
22 May 2013 | by DLewisSee all my reviews

"Luffar-Petter" (Peter the Tramp) survives only in a ten-minute fragment and is notable only as it contains Greta Garbo's first appearance in an acting role. It is not her first film; Garbo appeared in some department store advertising films as a model before this. It was directed by, and starred, prominent Swedish actor Erik Petschler who ran both a film school and his own production company. In older literature relating to Garbo, "Luffar-Petter" is referred to as a comedy short, but this is a misinterpretation of the extant footage; Swedish censorship records show that the original film ran 75 minutes and was a drama. Petschler played two roles; that of the title character Peter the Tramp and as Erik Silverjälm ("Eric Silver-Helmet"), a prominent official within the fire department. Garbo plays one of his three daughters; in one scene, as Silverjälm, he is watching the three girls while his other character, Peter the Tramp, steals his belongings.

The extant ten-minute sequence may be part of a workprint towards the finished film, which is lost; it has no intertitles, but also no slates, a couple of flash frames and some jumpy edits, suggesting that at some point this raw material was cleaned up. There are two takes of a scene where Petschler, as Silverjälm, is greeted warmly by Garbo, who jumps up into his arms. Afterward, they enjoy tea and crumpets at the girls' campsite, and it irises out. The footage, which mainly consists of Garbo and her two sisters going out on a boat, establishing a campsite and playing in the water, is beautifully filmed by photographer Oscar Norberg. But the scenes with the three girls are not very well directed, and suggests second unit, or student, work; the girls prance around, stand in the water and we are not sure what they are doing -- and perhaps, neither were they. While the sequence is clearly in imitation of Mack Sennett bathing beauty subjects it does not play as comedy so much as a lighthearted moment within a more serious endeavor.

Possibly the reason this material was conserved at all was that it was a more extended look at the sequence that Garbo was in; certainly in the finished film it would have played shorter. Garbo is the most attractive of the three girls and also the most resourceful; she pilots the motorboat that they ride in and also appears to be building the campfire that they use to cook their fish. Nevertheless, Garbo herself must have been devastated that this film survived only in this way, shorn of its context and playing like provincial, inferior comedy.


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