After the impasse of the Viennese intermission, this Herr Graf resumes his aristocratic activities in regards to the silent screenings at the Schloss theatre. ( Other and more decadent ones were continued merrily during the staying of this Herr Von in the Austrian capital city.)
And what better way to start another silent year than discovering unknown Nordic silent films? With some exceptions, many film productions of those cold European countries are not well known to silent connoisseurs. That’s generally due to whimsy film distribution policies or few public exhibitions of these films in theatres. This is a great error that thanks to modernen times, new formats, new distribution and broadcasting channels is being corrected thus finally making available for silent film fans these excellent oeuvres.
The first picture of this exclusive aristocratic film programme was “Brudeferden I Hardanger” ( The Bridal Party In Hardanger ) directed by Herr Rasmus Breistein in the silent year of 1926. It’s a wonderful silent film that must be discovered and enjoyed by any silent film fan around the world.
The film depicts a truncated love story through the whole life of the youngster fraulein Marit Skjolte ( Frau Aase Bye ) who is in love with Anders ( Herr Henry Gleditsch ). The latter promised Marit to marry her when he was returning from a two year absence from their little town. But the fact is that never will happen because after four years of Marit having no news or letter from Anders, finally she discovered that he’s to marry a wealthy fraulein in the church of their little town.
“Brudeferden I Hardanger” has remarkable aspects that made this film a very special one with peculiarities connected with the surroundings that decisively influence the lives of the main characters of the film.
As in many Nordic films, nature is always a very powerful and important film character in the story and plays a prominent role in accordingly developing the film narrative that the director needed or wanted depending on his own personal artistic interests.
In “Brudeferden I Hardanger”, nature is in the background but, at the same time, is a fundamental character that is used by Herr Breistein very wisely. From the very start of the film, we view the beautiful landscapes of the Hardanger fjord which witnessed a social tragedy, the massive emigration of the inhabitants of the little town to America who flee from a beautiful but impoverished land. It’s a land, however, that is incapable of giving enough resources to the population and they begin searching for a better life out of the country. Nature becomes a relevant and even cruel master that has no mercy with the people who live in the surrounding areas.
The hard conditions in the fjord are suffered by our heroine when she applies for a post with the county judge for a job in where she is treated harshly by the judge’s wife. After the shock of her fiancée’s marriage she is forced to take a post with an old cotter up in the mountains. These situations together with her sad feelings, don’t change until she finally decides to marry Tore ( Herr Vilhelm Lund ) a rich farmer who always loved her in (spite her indifference) and it’s a last chance for Marit, certainly. In this part of the movie, nature is especially used as a decisive character that emphasizes the difficult social conditions and the social class differences in the fjord.
But nature has its more aesthetic part in the film as can be seen especially during the bridal voyage down the Hardanger fjord and its beautiful and evocative scene inspired by one of the most well-known paintings in Norwegian art history. Certainly Herr Breistein captures its beauty and romantic scent with an inflexion point in the film that accelerates the pace in a dramatic way.
Because Marit waited for years for the return of her fiancée and then realized that her waiting was in vain, the previous timid, innocent and young fraulein grows into an embittered, resented old woman ( Frau Gunhild Schytte Jacobsen ) who never will forget the betrayal Anders did to her. It’s a terrible deception and that hate that even will transmit to her own sons.
The human portrait of Marit is certainly outstanding and, is well transmitted by the two actresses that perform the character within the different times of main character’s life. Depicted are events that transform a good and hopeful young woman in a selfish and vindictive old woman. In the end Marit realizes this and accepts that in a way she has lost her whole life, living one that she didn’t want to,
The transition between youth and old age is a small lapse of time within the film culminated and reflected upon in the last scene of the film. It’s a beautiful but terribly sad scene in where two old people are finally reunited at the end of their lives, aware of their lost time that will never be recovered and keeping only memories of better but old times.
The film was recently restored by the Norwegian Film Institute in what it was an enormous and complicated task that, thank Gott, was a successful one. This can be appreciated in available the pristine copy of the film with superb music arranged, Herr Composed and adapted by Halldor Krogh Which Enhances the beauty and sorrow That Involved in this excellent silent film.
And now, if you'll allow me, I take my leave Must Temporarily Because this German Count must-take a boat voyage down and Stock Teutonic estuary, the Galician version of the Norwegian fjords.
Herr Graf Ferdinand Von
Galicia - / -
Following the recent impasse in the middle of Vienna, Herr Graf recovered aristocratic activities relating these to the projections silent in the theater of the Schloss, obviously, decadent activities, continued merrily course during the stay Herr Von thereof in the Austrian capital.
And what better way to start a whole new year to discover unknown films silent Nordic?, With few exceptions, the majority of film productions from those cold European countries are not too familiar to conneisseurs silent, a fact due to capricious distribution policies or public displays few of the above films in cinemas worldwide, a serious error which, thanks to modern times, it will gradually solved by the possibility offered by new formats and distribution channels and television, making available Fan silent world of those great works.
first film this exclusive aristocratic silent cycle has been "Brudeferden I Hardanger", a film directed by Herr Rasmus Breistein silent in the year 1926, since a wonderful silent film that must be discovered and enjoyed by all self-respecting fan silent .
The film tells a love story cut short the life of the young Fraulein Marit Skjolte (Frau Aase Bye) which is in love with Anders (Herr Henry Gleditsch) Marit he promises to marry her when he returns after a two years, but is it a promise that will never be fulfilled because after four years away and no news or a miserable letter Anders, Marit finally discover that her fiancé will marry a rich Fraulein in the church of his people.
"Brudeferden I Hardanger" has many outstanding features that make this film special, characteristics directly influenced by the places where history happens and that will definitely factor in the lives of the main protagonists of the story.
As happens in many Nordic films, nature is always a powerful and important character in history, granting an outstanding importance in correct proportion to the narrative film and the director deems appropriate depending of their personal artistic interests.
In "Brudeferden I Hardanger" nature is ubiquitous, being a fundamental character that is used by Herr Breistein so wise indeed.
From the very beginning of the movie, you can see how the scenic Hardanger fjord are witnessing a social tragedy, the mass migration of villagers to America, having to flee a beautiful but impoverished land which is unable to provide the necessary resources to its people, having to find them a better life abroad, becoming the nature around in a cruel kind of love that does not have much compassion for people living in surrounding areas.
difficult conditions of the fjord are also suffered by our heroine, which will have to seek work as a maid in the house of the county judge, a job which will be treated in a derogatory manner by the wife of the judge or when you choose to work for an old villager who lives in the mountains, difficult work situations to which we must add the lousy Marit living soul that will not change until finally the decision to marry Tore (Herr Vilhelm Luna), a wealthy farmer's which has always loved her despite her indifference.
In this part of the film, the landscape of Hardanger, synthesize and highlight social difficulties experienced by the players and the great differences of classes in the fjord.
But that nature has its most aesthetic in the film, as can be seen during the wedding scene and a boat cruise through the Hardanger fjord, a beautiful and evocative this sequence inspired by one of the most famous paintings of Norwegian art and which Herr Breistein certainly manages to capture all its beauty and romantic essence, this being also a turning point in the film, dramatically accelerating the pace of events in it. For
Marit has been expected for several years back her fiance, eventually realize that their wait has been in vain, before becoming the shy, innocent and young Fraulein in a bitter and resentful old woman (Frau Gunhild Schytte Jacobsen) and never forgive the betrayal he has committed to her Anders , a disappointment which will be born an enormous hatred that even send their own children.
Marit The human portrait is certainly outstanding, able to transmit and reflect the two actresses who play the character at different times in its lifetime, the events that transform a simple and hopeful young man in a selfish and vindictive old woman, after have been aware Marit with becoming the years, he has to accept the fact that he has lost his life and has had to live one that really did not want.
The transition between youth and age of Marit is a small amount of time in the film, culminating in a final scene, a beautiful and equally sad scene, in which the two old men finally get back together at the end of their lives, aware of time lost and never be recovered, leaving only the memories of the good old days.
The film was recently restored by the Norwegian Film Institute as it's been a difficult and enormous task of restoring and thank Gott has been topped successful as it will be seen in the pristine copy of the film available, which has added an excellent score composed, arranged and adapted by Halldor Krogh Herr, noting this is the beauty and longing that permeates this excellent silent film.
And now, if I may, I have to leave because this Germanic count must make a boat trip down a river Teutonic, ie the Germanic version of the Norwegian fjords.
Herr Graf Ferdinand Von Galicia
And what better way to start another silent year than discovering unknown Nordic silent films? With some exceptions, many film productions of those cold European countries are not well known to silent connoisseurs. That’s generally due to whimsy film distribution policies or few public exhibitions of these films in theatres. This is a great error that thanks to modernen times, new formats, new distribution and broadcasting channels is being corrected thus finally making available for silent film fans these excellent oeuvres.
The first picture of this exclusive aristocratic film programme was “Brudeferden I Hardanger” ( The Bridal Party In Hardanger ) directed by Herr Rasmus Breistein in the silent year of 1926. It’s a wonderful silent film that must be discovered and enjoyed by any silent film fan around the world.
The film depicts a truncated love story through the whole life of the youngster fraulein Marit Skjolte ( Frau Aase Bye ) who is in love with Anders ( Herr Henry Gleditsch ). The latter promised Marit to marry her when he was returning from a two year absence from their little town. But the fact is that never will happen because after four years of Marit having no news or letter from Anders, finally she discovered that he’s to marry a wealthy fraulein in the church of their little town.
“Brudeferden I Hardanger” has remarkable aspects that made this film a very special one with peculiarities connected with the surroundings that decisively influence the lives of the main characters of the film.
As in many Nordic films, nature is always a very powerful and important film character in the story and plays a prominent role in accordingly developing the film narrative that the director needed or wanted depending on his own personal artistic interests.
In “Brudeferden I Hardanger”, nature is in the background but, at the same time, is a fundamental character that is used by Herr Breistein very wisely. From the very start of the film, we view the beautiful landscapes of the Hardanger fjord which witnessed a social tragedy, the massive emigration of the inhabitants of the little town to America who flee from a beautiful but impoverished land. It’s a land, however, that is incapable of giving enough resources to the population and they begin searching for a better life out of the country. Nature becomes a relevant and even cruel master that has no mercy with the people who live in the surrounding areas.
The hard conditions in the fjord are suffered by our heroine when she applies for a post with the county judge for a job in where she is treated harshly by the judge’s wife. After the shock of her fiancée’s marriage she is forced to take a post with an old cotter up in the mountains. These situations together with her sad feelings, don’t change until she finally decides to marry Tore ( Herr Vilhelm Lund ) a rich farmer who always loved her in (spite her indifference) and it’s a last chance for Marit, certainly. In this part of the movie, nature is especially used as a decisive character that emphasizes the difficult social conditions and the social class differences in the fjord.
But nature has its more aesthetic part in the film as can be seen especially during the bridal voyage down the Hardanger fjord and its beautiful and evocative scene inspired by one of the most well-known paintings in Norwegian art history. Certainly Herr Breistein captures its beauty and romantic scent with an inflexion point in the film that accelerates the pace in a dramatic way.
Because Marit waited for years for the return of her fiancée and then realized that her waiting was in vain, the previous timid, innocent and young fraulein grows into an embittered, resented old woman ( Frau Gunhild Schytte Jacobsen ) who never will forget the betrayal Anders did to her. It’s a terrible deception and that hate that even will transmit to her own sons.
The human portrait of Marit is certainly outstanding and, is well transmitted by the two actresses that perform the character within the different times of main character’s life. Depicted are events that transform a good and hopeful young woman in a selfish and vindictive old woman. In the end Marit realizes this and accepts that in a way she has lost her whole life, living one that she didn’t want to,
The transition between youth and old age is a small lapse of time within the film culminated and reflected upon in the last scene of the film. It’s a beautiful but terribly sad scene in where two old people are finally reunited at the end of their lives, aware of their lost time that will never be recovered and keeping only memories of better but old times.
The film was recently restored by the Norwegian Film Institute in what it was an enormous and complicated task that, thank Gott, was a successful one. This can be appreciated in available the pristine copy of the film with superb music arranged, Herr Composed and adapted by Halldor Krogh Which Enhances the beauty and sorrow That Involved in this excellent silent film.
And now, if you'll allow me, I take my leave Must Temporarily Because this German Count must-take a boat voyage down and Stock Teutonic estuary, the Galician version of the Norwegian fjords.
Herr Graf Ferdinand Von
Galicia - / -
Following the recent impasse in the middle of Vienna, Herr Graf recovered aristocratic activities relating these to the projections silent in the theater of the Schloss, obviously, decadent activities, continued merrily course during the stay Herr Von thereof in the Austrian capital.
And what better way to start a whole new year to discover unknown films silent Nordic?, With few exceptions, the majority of film productions from those cold European countries are not too familiar to conneisseurs silent, a fact due to capricious distribution policies or public displays few of the above films in cinemas worldwide, a serious error which, thanks to modern times, it will gradually solved by the possibility offered by new formats and distribution channels and television, making available Fan silent world of those great works.
first film this exclusive aristocratic silent cycle has been "Brudeferden I Hardanger", a film directed by Herr Rasmus Breistein silent in the year 1926, since a wonderful silent film that must be discovered and enjoyed by all self-respecting fan silent .
The film tells a love story cut short the life of the young Fraulein Marit Skjolte (Frau Aase Bye) which is in love with Anders (Herr Henry Gleditsch) Marit he promises to marry her when he returns after a two years, but is it a promise that will never be fulfilled because after four years away and no news or a miserable letter Anders, Marit finally discover that her fiancé will marry a rich Fraulein in the church of his people.
"Brudeferden I Hardanger" has many outstanding features that make this film special, characteristics directly influenced by the places where history happens and that will definitely factor in the lives of the main protagonists of the story.
As happens in many Nordic films, nature is always a powerful and important character in history, granting an outstanding importance in correct proportion to the narrative film and the director deems appropriate depending of their personal artistic interests.
In "Brudeferden I Hardanger" nature is ubiquitous, being a fundamental character that is used by Herr Breistein so wise indeed.
From the very beginning of the movie, you can see how the scenic Hardanger fjord are witnessing a social tragedy, the mass migration of villagers to America, having to flee a beautiful but impoverished land which is unable to provide the necessary resources to its people, having to find them a better life abroad, becoming the nature around in a cruel kind of love that does not have much compassion for people living in surrounding areas.
difficult conditions of the fjord are also suffered by our heroine, which will have to seek work as a maid in the house of the county judge, a job which will be treated in a derogatory manner by the wife of the judge or when you choose to work for an old villager who lives in the mountains, difficult work situations to which we must add the lousy Marit living soul that will not change until finally the decision to marry Tore (Herr Vilhelm Luna), a wealthy farmer's which has always loved her despite her indifference.
In this part of the film, the landscape of Hardanger, synthesize and highlight social difficulties experienced by the players and the great differences of classes in the fjord.
But that nature has its most aesthetic in the film, as can be seen during the wedding scene and a boat cruise through the Hardanger fjord, a beautiful and evocative this sequence inspired by one of the most famous paintings of Norwegian art and which Herr Breistein certainly manages to capture all its beauty and romantic essence, this being also a turning point in the film, dramatically accelerating the pace of events in it. For
Marit has been expected for several years back her fiance, eventually realize that their wait has been in vain, before becoming the shy, innocent and young Fraulein in a bitter and resentful old woman (Frau Gunhild Schytte Jacobsen) and never forgive the betrayal he has committed to her Anders , a disappointment which will be born an enormous hatred that even send their own children.
Marit The human portrait is certainly outstanding, able to transmit and reflect the two actresses who play the character at different times in its lifetime, the events that transform a simple and hopeful young man in a selfish and vindictive old woman, after have been aware Marit with becoming the years, he has to accept the fact that he has lost his life and has had to live one that really did not want.
The transition between youth and age of Marit is a small amount of time in the film, culminating in a final scene, a beautiful and equally sad scene, in which the two old men finally get back together at the end of their lives, aware of time lost and never be recovered, leaving only the memories of the good old days.
The film was recently restored by the Norwegian Film Institute as it's been a difficult and enormous task of restoring and thank Gott has been topped successful as it will be seen in the pristine copy of the film available, which has added an excellent score composed, arranged and adapted by Halldor Krogh Herr, noting this is the beauty and longing that permeates this excellent silent film.
And now, if I may, I have to leave because this Germanic count must make a boat trip down a river Teutonic, ie the Germanic version of the Norwegian fjords.
Herr Graf Ferdinand Von Galicia
