I wrote too much of this while I was married not to preface it for anyone I might happen to be currently involved with or become involved with in the near future. I was legally married at city hall to a heterosexual woman in 2004 which coincided with our common law date. Much of the writing had been outlined before that, while cohabitating with her for six years and ten or eleven months. Technically while being engaged for eight, which is the common law requirement. Twelve years of sharing the same apartment, and of course I’ve been writing a novel and poetry during the year since the seperation. If it hasn’t been clear, she asked for a divorce, which has been uncontested. There were boxes of manuscript. The filmic novel written in the interim was entitled Scott Lord Inga’s Veil, Evening, whereas the novel I have now began writing, found under my name, Scott Lord is as of yet untitled, there a possiblity that the former may still be in progress and the two could be combined. I have spent almost every night for nearly the last nine months in a skyscraper that over looks where I spent the honeymoon, in fact it almost touches it. A very beautiful woman that I had met before 2001 kissed me. I am presently in the bed of the aspiring novelist Dana Lynn, which is the ”pen name” of the poet I’m in love with and the poet to whom I have been making love.
In the United States, to begin 2012, I exchanged a ”Good to See You” with the film director near Harvard University, an Oscar winner, that I knew the week of the death of Ingmar Bergman, Errol Morris; I had known him primarily from his walking his dog, rather than my being Jay Gatsby, or the artist Charles Strickland , for that matter. The metal globe has dissappeared from his office, but he gave me the title of the film he made since the last time we had spoken and added, ”There’s going to be another.” For various reasons I was silent about writing poetry or a novel during that time period and therefore any personal meanings that can be derived from the films of Sjostrom, Molander or Bergman also lay buried, despite Bergman’s essential theme of the artist being and individual with the freedom to create in films like The Magician or despite the way in which Bergman uses his love for his first wife to create the layer work of character development after his seperation from Liv Ullmann. In regard to her, before we got engaged, before thinking of adopting and doing the tubal ligate ordeal while I was watching Brink of Life; ironically in a wry way, in Images, Ingmar Bergman writes, ”I read Ulla Isaksson’s fine short story collection Aunt of Death, and was captivated by two of the stories, which, if put together, could be made into a screenplay….But Brink of Life exists exactly as it was seen and heard at the premiere on March 11, 1958, and I sat watching the same film years later in the darkness, alone, influenced by no one.”
I am serious about my love of film, especially Swedish Film. The page can be made more relevant- should anything become open to debate I will switch the subject, including my writing during the death of Ingmar Bergman and anything about the Swedish Film Institute. After all is said and done, I will primarily avoid being inconsiderate. By all accounts, during the meantime, venerated cameraman Gunnar Fischer of Sweden made it passed any difficult hour he may have had to courageously face. Fischer was born November 18, 1910. please forward any kind regards from the present author. (Gunnar Fischer passed away during June of 2011, while this webpage was being revised)
While I was married I recieved a letter from Ase Klevand, who e-mailed me on the 100th birthday of Swedish Film actress Greta Garbo, She returned to Norway, to be replaced by Cissi Elwin. Cissi Elwin, now remarkably Cissi Elwin Frenkel, during the interim decided to leave the Swedish Film Institute, her duties to currently inherited by acting manager Bengt Troll. If you are reacquainting yourself with Swedish Film as I am, Troll has continued with the publication of the magazine of the Swedish Film Institute, Swedish Film, and if you begin with issue #1, he has added a rare behind the scenes look at the work of Inmgar Bergman though unpublished photographs to mark actresses Live Ullmann, Gunnel Lindblom and Harriet Andersson having attended the Berlin Film Festival. Please welcome Anna Serner with me, who will reside as the new CEO of the Swedish Film Institute on October 1, 2011.
During revision, I would switch verbs and their tenses to follow Swedish Films in production through to their post-production, notably, the press releases on Ingmar Bergman’s film Saraband, a film that declined being unspooled at festivals in Cannes and Venice. For example, the phrase ”will be screened” would be revised to ”it having been screened” and the webpage was easily updated. It was that e-mailed newsletter from Norway that to me reported the death of actresses Ingrid Thulin and Eva Dahlbeck, who notably had appeared together in a film I would screen frequently, Brink of Life (Nara Livet, 1958). It is one of several films that had brought the topic of the Swedish tradition of connecting character to the enviornment thematicly and symbolicly into a deeper level through its contrasting style of filming interior scenes that are dependent upon theatrical dialoge, which was first explored by sound film director Gustuv Molander upon Victor Sjostrom’s return to Sweden as an actor. As Ingmar Bergman was finishing his last sequence to the film Saraband, shot in Solna, at Stockholm’s Filmstaden with assistant director Torbjorn Ehrnvall, the e-mailed newsletter announced when it was slated for theatrical release and its possible entries in film festivals while it was still in post-production and while Bergman was still at work on the digital print of the the film. Ingmar Bergman would announce his decision against theatrical release of the film and his decision that after that, he would continue with writing, but not directing. I then quoted Begnt Forslund, an author whose biography on Victor Sjostrom I often mimeographed pages from, as having remarked upon the teleplay, ”He had announced that Saraband would be his last artistic endeavor- no more theater directing, no more films, no more television, no more radio. In this article I will take him at his word, though he’s made that promise before.” Long before the two new seminal biographies filmed by Stig Bjorkman, Swedish television aired the documentary In the Direction of Bergman (I regi av Bergman, it then adding a three part series of interviews conducted by Marie Nyrerod with the broadcast of Bergman and Cinema (Bergman och Filmen), Bergman och Theatern), and Bergman and Faro (Bergman och faro), and again, although my writing on the subject was incomplete, it was only a matter of diligently conjugating the be verb to update the Geocities webpage. Please allow the present author to update the webpage again to mark the passing of Swedish actor Erland Josephson during 2012.
Having said goodbye to Geocities, ”good grammar is clarity”. Please note that in the wake of Geocities, video.google.com has announced that it may closing and that films that are embeded into personal webpages maybe in question. Since the death of Ingmar Bergman, Birgitta Steene. along with author Emil Tornquist, has translated the letters of August Strindberg in Strindberg on Drama and Theater. Tonight, I just completed a blog entry during a film starring Marie Liljedahl, which is easy to type if using the Blog This feature while the film is in progress. The Lunascape browser has a split screen feature while watching films on Veoh.com and Veehd.com.The film has so far had two beautiful scenes, one where Marie Liljedahl is show in a bathtub before a scene where the two women are suntanning nude and applying lotion before they begin to kiss- the other a scene filmed entire in red and silhouette, more haunting than Bergman’s Cries and Whispers, where Marie Liljedahl is on her bed before she is seduced, the use of showing her pubic hair, as in the tub again an erotic effect, but far more sensual with the contrast in atmosphere in the two scenes. I donnot as of yet know what’s going to happen in the film and apologize for the difficulty of its availability in the United States. And yet, since revising this page, I discovered from the Scandinavian Film Periodical Film International, that another Swedish Film actress, one central to my points of departure on the seminal work of the time period has since passed away.
Modern Swedish Film- Ingmar Bergman, Svenska Filmindustri and the emergence of the Svenska Filminstitutet
If it seems that after Persona (1966,) the film made in Sweden was influenced more by the Swedish Film director Arne Mattsson and his paen One Summer of
Cowie likens the film Blue Week (Sininen vikko, 1954)
directed in Finnland by Matti Kassila, thematicly to Bergman’s Summer with
Summer Interlude, his even going so far as to compare its photography,
filmed by Osmo Harkimo, to that of Gunnar Fischer. By 1970, one would only need look at the beautifully shot poster to the film Naisenkuvia, a nude woman on her knees photographed for the glamour of diaphaneity with lens filters, to know that director Jorn Donner had accompanied Scandinavian film into a then open-minded discussion of free love and love is to art as nudity is to marriage. Seminal to Swedish cinema,
A Crime (Ett Brott, 1940), directed by Anders Henrikson with
Edvin Adolphson and Karin Eckelund is distinguished as having brought the
themes of marital complications to the screen. Strindberg writes, ‘The author
must be bound by no definite form, for form is conditioned by the plot and the
subject matter.’ Why themes of marriage are fitting subjects for literature is
not merely because they are concerned with truth, as they particularly seem to
be in the short stories of Strindberg, but also because they involve the
character, known to himself and as participating in the drama of being
individual. Writing in Film Quarterly, while reviewing Ingmar Bergman Directs
by Emil Tornqvist, Sidney Gottlieb looks at Bergman’s use of theme in a way
similar to Strindberg. Although appreciative of Tornqvist’s book and its
examination of the theatricality of Begrman’s films, Gottlieb cautions that
Bergman’s use of symbolism and abstracts shots that are seemingly, if not
altogether, unconected to the narrative of the particular film, is not
necessarily theatrical in a way contrary to the realism inherent in cinema,
although Bergman may depend upon Strindberg, and possibly Ibsen. The author
Maaret Koskin has added Carl Jonas Love Almqvist (The Queen’s Diadem; Amorina,
1839) to the influences upon Bergman. A member of a mailing list had sent an
e-mail this September announcing the publication of a new book by Emil
Tornqvist entitled Bergman’s Muses.
Ingmar Bergman relates that ‘Strindberg’s way of experiencing women is
It could be seen that the scene is a reworking of the wearing of the
Bergman, in regard to the double exposure scene in Personna, writes
During the interview, Stig Bjorkman remarks upon Persona being shot
There is something, no matter how unintentional, that can metaphoricaly
Fredrick Sands writes about having interviewed Greta Garbo in 1977, ‘The
Victor Sjostrom had
cautioned Bergman to ‘Film actors from the front; they like that and its the
best way.’ In The Scarlet Letter (Den roda bokstaven, 1926, nine
reels), Sjostrom introduces Lillian Gish by filming her frontally in medium
shot, frequently using dissolves during the film. After her leaving the frame,
the camera cuts to a medium shot of her in profile and then back to filming
her frontally in a mirror shot of her deciding which hat to wear. It is almost
as though Sjostrom uses reverse screen direction between two characters when,
after structuring the film by reintroducing Gish with a dissolve, she one
moment is crossing the screen from right to left, the next momement Lars
Hanson crossing from left to right. Charles Affron writes, ‘Seastrom redefines
the space of the town square, making it an area successively filled and
emptied, now a formal pattern with paths cleared, then serried with ranks of
extras. The church, the town hall and the scaffold are other spatial elements
that constitute the dynamics of the public drama.’ Remarking upon Sjostroms
‘sensitivity to landscape and texture’, Affron looks to their being a
‘stylistic unity’ to the film. Lillian Gish, in her book Dorothy and Lillian
Gish, writes of her having seen The Story of Gosta Berling and that,
‘Mr. Mayer sent to Sweden for Lars Hanson, let me have Victor Sjostrom, the
great Swedish artist, as director and put it into my hands. I worked with
Frances Marion on the script, and we made a successful film that is regarded
as a classic to this day.’ Ingmar Bergman has said that when directing
Sjostrom; it had in fact been that he ‘drew his attention to the fact that he
was playing to the gallery.’ When the film was reviewed in the United States,
Sjostrom was seen as ‘painstaking in his studying his characters’ and that
there were ‘some cleverly pictured scenes in the church and the sights of the
crowds betray(ed) imaginative direction both in the handling of the players
and in their arrangement to the shades of their costumes.’ There had been an
earlier film adapation of the novel, The Scarlett Letter (1917, five
reels) starring Mary Martin, Stuart Holmes and Kittens Reichert, directed by
Carl Harbaugh. There is an account of Sjostrom’s shooting the exterior scenes
to The Scarlet Letter, during which he climbed down from a platform
after Stiller had announced he was there, Stiller then saying, ‘This is
Garbo.’; Stiller and her had met Warner Oland and his wife, Anna Q. Nilson
earlier. Warner Oland later began the series of films featuring the Earl Der
Biggers detective with Charlie Chan Carries On and The Black
Camel, both made in 1931.
In the film Ingmar Bergman Makes a Movie (Ingmar Bergman gor en film, 1963), Vilgot Sjöman begins with a brief synopsis of the film Winter Light before his interviewing director Ingmar Bergman. Bergman discusses his use of complete silence in the film, a silence that has fallen upon the character. He explains the use of the actors’ eyes in the film. Edited into the film is behind the scenes footage, including numerous shots of Ingrid Thulin trying on various pairs of glasses. Sjöman shows Bergman filming and his methods of blocking, ‘The faces and the dialogue are to tell the whole story.’ Sjöman’s camera films Bergman’s tightly enough to fill half the screen with the same shot as Bergman’s from a different angle. Sjöman then interviews Bergman during the postproduction of the film, ‘You always cut during movement. That way the flow isn’t interrupted.’
All of the films of the Winter Light trilogy, Through a Glass Darkly (Sasom i spegel, 1961), Winter Light (Nattvardsgasterna, 1963) and The Silence (Tystnaden, 1963), were photographed by Sven Nykvist and scripted by Ingmar Berman.
Katherina Farago was the script girl for to Ingmar Bergman’s The Silence, which in fact only briefly opens silently with Gunnel Lindblom and Ingrid Thulin in a train compartment, both exhausted, the camera panning up on Gunnel Lindblom’s tightly-fitted gown and curved body. As a sex-symbol, she has been deppened by the emotion of being drained, presumably from a journey. The metaphor of their being exhausted is kept intact by the camera shifting to the next interior, where, contrastingly, she crosses the set almost to avoid the camera, it briefly filming her from the knees down as she is waling, it near obliquely avoiding that she is in a dressing gown that outlines her movement. If , thematically, the mirror introduced early in the film is an objectification of
One of the assistant directors to the concluding film of Ingmar Bergman‘s Winter Light trilogy, The Silence, was Lars Erik Liedholm, who directed the 1965 film June Night (Juninatt), photographed by Gunnar Fischer and written by Bengt Söderbergh. The film stars Bibi Andersson, Lennart Svensson, Vera Graffmann and Lena Hedström. Harry Schein appears on screen in the film.
Early sound film director Tancred Ibsen wrote and directed the film Venner during 1960. Based on the play by that name it was photographed by Ragnar Sorensen and stars Eva Bergh, who had appeared in the 1949 film Doden er et kjaertegn (Edith Carlmar) and Ingervd vardund, who had appeared with Max von Sydow in the 1953 film Ingen mans kvinna (Kjellgren). It’s interesting to not that Von Sydow had really only starred in less than a handful of films before working with Bergman in The Seventh Seal, one having been Miss Julie (1951).
During 1961, Gunnar Fischer was in Denmark where he photgraphed Een blandt mance, directed by Astrid and Bjarne Henning Jensen, The film stars Marina Lund and Elsa Kouran, but also appearing in the film is Lili Lani, who, having been born in 1905, had appreared in the silent films Professor Peterson’s Plejeborn (Lauritzen, 1924), Polis Paulus pa skasmell (1925) and Ingmarsavavet (1925), the latter two having been directed by Gustaf Molander.
Hasse Ekman in 1963 directed My Love is a Rose (Min kara ar en
Jan Troell was behind the camera directing Max von Sydow during 1964 with the film Stay in Marshland (Uppehall i myrlandet). I usually leave Utvandrana and Nybyggarna (1972) on their respective shelfs as I was born and raised in Massachusetts, which is on the Atlantic Ocean. Karin Falk began in film as a director in 1964 with the film
Having written two plays during Bergman’s period of Wild Strawberries and The Seventh Seal, in 1964 actress Eva Dahlbeck began publishing novels with Home to Chaos (Hem till kaos). In 1965 she followed with the novel The Last Mirror (Sista Spegeln), in 1966 with the novel The Seventh Night (Dem sjunde natten) and in 1967 with the novel The Judgement (Domen).
Jan Halldoff directed his first two films in 1965, Haltimma, starring
The Vine Bridge (Lianbron), starring Harriet Andersson and Mai Zetterling, was directed in 1965 by Sven Nykvist. Zetterling would be paired with cameraman Rune Erikson for her second film as a director, Night Games (Nattleck, 1966).
The Ballroom (Festivitessalongen) was produced by Sandrew Film in 1965 and was directed by Stig Ossian Ericson, who appears in the film with Swedish actress Lena Granhagen, Georg Rydeberg and Gosta Ekman. Vilgot Sjoman was at Sandrew Film and Theater during 1965 and filmed Syskonbadd 1782 (My Sister, My Love, 1966) with cameraman Lasse Bjorne. The film stars Bibi Andersson, Tini Hedstrom, Berta Hall, Kjers Dellert, Lena Hansson, Mona-Lisa Lundquist and Sonya Hedenbratt. That year Lasse Bjorne was cameraman on the film With Gunilla Monday Evening and Tuesday (Till Sammaas med Gunilla Mandag Kvall och Tisdag), directed by Lars Gorling. Swedish cinematographer Martin Bodin was under the direction of Tage Danielsson that year filming Att angora en brygga, starring Monica Zetterlund, Birgitta Andersson and Katie Rolfson.
It is without hesitation that Rune Walderkranz and Bo Widerberg can ascribed adjacent paragraphs, irregardless of how the men differed. Chronologically Walderkranz began the first film school in Sweden after having produced two films by the director Ingmar Bergman and continued through untill the work of Mai Zetterling. At a studio founded by Anders Walderkranz was chief of production, supervising a miminimum of 67 films of which he scripted eight. He was also notable for his work Swedish Filmography, ”a monumental film history in three volumes” (Astrid Soderberg Widding), it acknowledging him as ”one of the most important first generation historians” (again, Astrid Soderberg Widding), to which there is added an unpublished licentiate thesis on Swedish Cinema 1896-1906.
Bo Widerberg, author of the novel Autumn Term and the collected short
Not only did Jan Troell in 1962 co-direct and photograph the the film A Boy with His Kite (Pojeken och draken), starring Bodil Mathiasson and Ulla Greta Starck, with Bo Widerberg, who wrote its manuscript, but Troell directed, wrote and photographed several other short television films, including Summertrain (Sommartag, 1961), New Years Eve in Skane (Nyar i Skane), The Ship (Baten), The Old Mill (De gamla kvarnen, 1964), again starring Bodil Mathiasson, and Spring in the Pastures of Dalby (Var i Dalby hage).
In the film Elvira Madigan, Bo Widerberg’s more obtrusive camerawork is
The director Ake
1966 also brought Christer Banck to the screen in the title role of Peter Kyllberg’s film Jag. Also in the film are Tove Waltenburg, Agneta Anjou-Scram and Magaretha Bergström. The screenplay to the film was written by its director.
As a precursor to the fast moving rise of sexual-relationship/sexploitation on screen, erotic literature in 1965 and 1966 brought the publication of novels like Forvildad Ungdom by Leif Lindgren, Atra i Mote by Sten Jonson and Syndagogan by Alban Osterlund. Twilight Woman around the World, written by Leighton Hasselrot, had been published two years earlier in 1963 and Termac, if seemingly only to add titles to its catolog or not, reprinted the volume Mitt liv lust, written earlier in the century, bu Frank Harris.
In his book I Was
I Am Curious Blue begins with there being actresesses interviewed by a film director, and then cuts to a group of women filmed in alternate close ups during a discussion on sex. There is a shot of two women in near profile in closeshot, one in the foreground of the shot, the other also in profile behind her within the same frame. Sjoman zooms on one of the women during a group shot of the women together. Intercut are scenes of him in a theater watching the rushes with Lena Nyman, who is then seen with him behind the camera. She begins being filmed in Stockholm’s Tidninggen, near the water, wearing a tight skirt in profile, it almost being a mini-skirt. As to foreshadow, Sjoman, who often appears on the screen as an actor playing the director of the film, says, ‘A love scene without consequences would be pointless.’ The film almost cuts too quickly to a scene where Nyman is seen in bed with her lover before their both orgasming and quietly on a pillow in the darkened room with him in a post coital moment. The two wait to get dressed during their conversation, their being nude together as they talk possibly seeming prolonged compared to the legnth of the previous scene where they were in bed. The next scene begins with exterior shots of her kept in an introspective voice-over narrative, the scene itself being filmed mostly in a church and during a discussion on marriage, particularly in the churches of Sweden. It may seem as though the character is encountering what she sees as complacency within a culture then aspiring toward being moderately liberal, and yet this itself is for character interest, almost to where the actress in the film is kept too far from her sexual fantasies during the story line, and kept from disclosing them in as much as the plotline keeps it to the periphery. The story line is often kept minimal during the film, as though condensed as it follows Lena throughout its locations and yet the nudity is not entirely placed as being gratuituous be the film’s being cenetered around her. Later, Lena Nyman is filmed at a lake in a nude swimming scene, her getting out of the water in full shot, in profile, the camera stationary as she moves in front of it. The camera is again stationary as she sits indian style by the waters edge. The scenes by the water are almost seperate from the scenes where she is making a film with Sjostrom. She is then filmed at what seems to be near dusk, watching two women making love, which ends abruptly as Lena leaves.
During the revising of this webpage, the lovely, erotic fleshy sexually experienced Lena Nyman, passed away on February 4,2011. Hakan Bergstrom had directed Lena Nyman in her first film, Fargligt
Having directed Gia Petre The Doll (Vaxdockan) with Per
Before Hon Dansade en Sommar had been adapted to the screen by the
One of the most beautiful films to be shot in Sweden, although filmed with
I included the actress Marie Liljedahl in the internetcopy of the novel that I’m writing, not only hoping that a theme that could complementarily complement what I am now writing, but hoping that the actress Marie Liljedahl’s interpretation of Inga in the film and its sequel, Inga Two,The Seduction of Inga would deepen the character as a sex-symbol, as a desired object and interpellate the reader into a deeper identification with the character that I am still at the moment creating and developing. Whether or not my created character is a ballerina, or actress, or university student, I would like there to be facets attributed to Ms. Liljedahl onscreen, much like the feeling of one gets with Vadim’s Barbarella, or Bardot in Viva Zapata (Malle). Marie
For anyone who has seen her in film,
particularly of interest is her brief inclusion in a dialouge scene in
Eva-den uttstotta. Shown in the United States as Swedish and
Underage(1973), the film stars Solveig Andersson. During
the film there is a dialouge scene where Ms. Andersson, in an attic, is trying
on a hat in a mirror shot. The line delivered by Marie Liljedahl is ‘But I
don’t see a connection between them.’
In between the films Inga and The Seduction of Inga, ballerina-actress Marie Liljedahl appeared onscreen as Snow White in West Germany, during the film Grimms Marchen von lusternen Paichen (1969), written and directed by Rolf Thiele and starring Ingrid van Bergen, Eva V. Rueber, Kitty Gschgof, gaby Fuchs, Evelyn Putree and Isolde Stiegler. More stirring is her appearance in Eugenie (Franco,1970). It is a horror film with Christopher Lee, but the scenes are intercut, so that the film, like Veil of Blood, with Swedish actress Marie Forsa, is listed under sexploitation, and filmed in Liechestien centers around a plot near to the film Anna och Eva, it opening on an island and moving quuickly to a bedroom interior, there being included a panning shot of Marie Liljedahl while she is on her bed that equally shows how provacative the miniskirt is that she is wearing. The scene later is rearticulated with Liljedahl in her underwear. In that there is an earlier scene of Maria, the older lesbian, nude on a table during a cult worship, the shot within the context of the film may be used as contrast, one actress being positioned nude on her back, whereas the other is on her stomach; if so, it is atmospheric in regard to the dramatic, and discloses no plot event, merely depicting both characters in their contrasting and not yet conflicting circumstances. The red miniskirt fits accurately, snuggly, upon Liljedahl’s breasts while she is in profile, and, she bends her knees to show the glamour of its hemline. The lesbian activity begins with a mirror shot with a direct cut to a scene where she is taking a bath, the mirror as surface and and the water as surface within which she is immersed only atmosphericlly dramatic and not overtly symbolic of a narcissism within lebianism, and yet there is a beautiful early use of showing her pubic hair within the adjacent shots that connects the mirror with her being a loved object and object of desire- her pubic hair being included in the shots seems like freedom and gratification have been both released, although the scene is queit and subdued in its excitement. The scene is continuous, leading to a nude sunbathing scene where the two apply lotion before they kiss. Following it is seduction scene belong to the horror plot proper filmed entirely in red, the entire interior bright crimson as she is in bed, the shift of scene converging two dramtic tones, both erotic and cinematic syntax bringing the different mood into play. She is seen by the vampire-occult figure as vouyer and is filmed in close shot making love, her nipples prominent on the screen.The film returns to a beautiful mirror shot filmed in her bedroom before the plot is resolved and he can have her without the others, pleasure, and inevitably the pleasure of their seperating-it is almost his effort to save her, which includes how the film ends, with a temporal loop.
I also include with my novel, trailers to the film in which actress Essy Persson appears. For the one, I like her and secondly, they are early pre-sexplotation films that weave plots of erotic romance. Torjborn Axelman directed Essy Persson and Margareta Sjodin in Vibration
In 1966, Essy Persson had starred with Gunnar Bjornstrand in
Trafracken, directed by Lars-Magnus Lindgren (the film was shown in the
United States under the title Her Only Desire in 1969). In 1965, Ms.
Persson appeared in the films Flygpan saknas and Operation
Lovebirds(Sla forst, Frede!). Torbjorn Axelman directed Margareta
Sjodin and Grynet Molvig in the film Hot Snow (Het sno, 1968), photographed by Hans Dittmer.
By 1974 Mac Ahlberg, who had directed Ms. Persson in I, a Woman
In Finland, Kristina Halkola and Kristi Wallasvaara had been fiming under the direction of Mikko Niskanen with Under Your Skin (Kapy Selan alla), their both appearing the following year in the director’s film Girl of Finland (Lapualaismorsian).
Based on a novel by Gustaf Sandgren, …som havet nakna vind,
Both Stellan Olsson and Jonas Cornell directed films in
||1969 also saw the publication of Den som ar utan synd, writtten by per Olaf Ekstrom.|
The copy of Exposed (Exponerad, Gustav Wiklund 1971),
Livet at stenkul (1967), directed by Jan Halldoff, was the first of
Jan Halldoff directed The Office Party in 1971 and The Last
Happenings: First introduced to the present author by a televised broadcast of the film Hammerhead with Judy Geeson, a sequel to the Boisie Oakes spy film The Liquidator, Happenings in the United States and the accompanying underground cinema were well documented by Harvard University- during 1967 they were recorded as having originated not so much as from the inspiration of filmmaker Stan Brackage (Metaphors on Vision), who deemed himself to be among ”aesthetic revolutionaries”, but by Jonas Mekas, editor of Film Culture, and, much like the small group of Swedish writers in the 1940′s, their influence was felt as Abstract Expressionists. If it seems that there is a lack of Modernism in the Swedish film of the late 1960′s, early 1970′s, I am Curious Blue and Yellow, certainly addresses the freethinking that was quickly becoming popular in the United States, the country in which the film was banned from being screened. During 1965, Ken Kelman wrote, ”Mekas makes a good try at expressing the defeats and triumphs of the human spirit in a dehumanized society, through episodes connected by meaning rather than dramatic causality.” Interestingly, in regard to the male-authored cinema and the relation between female spectatorship and the female subject within discourse, it was not until 1972 that the the periodical Women and Film appeared, it for the most part having become the magazine Camera Obscura by 1977. It was not until 1973 that the British Film Institute published Notes on Women’s Cinema, Jump Cut magazine only then following in 1974. There is currently study at Stockholm University concerned with ”embodied spectatorship”, its point of departure being a look at ”spectatorial processes at the intersection of film, body, time and place”.
In 1970, Torgny Wickman directed Kim Anderzon in The Lustful Vicar
Gunnar Hoglund in 1970 brought Diana Kjaer, Sune Mangs, Lissi Alandh and
Norwegian audiences in 1970 were viewing the film Shall we play Hide and Seek (Ska Vi Lege Gemsel?) filmed by Tom Hedegaard and photographed by Claus Loof. The film stars Eva Bergh, Helga Backer, Sisse Reingaard and Lykke Nielsen. In Denmark, director John Hilbard brought actress Birte Tove to the screen in the first of a series of film based on a novel by C. E Soyas, Mazurka pa Sengekanten, photographed by Erik Wittrup Willumsen. Also in the film are Anne Grete Nissen, Susanne Jagd and Jeanette Swenson. Birte Tove continued with the director in 1971 for the film Tandlaege pa sekanten and again in 1972 for the film Rektor pa sengekanten, both starring Anne Birgit Garde. In 1967, John Hilbard had directed Ghita Norby in the film Min Kones Ferie, photographed by Aage Wiltrup. Garbriel Axel during 1971 directed the actress in the film Love Me Darling/With Love (Med Kaerlig Hilsen) with Grethe Holmer, Lily Broberg and Ann Birgit Garde.
Among the films screened in Sweden during 1972 was the film Provocation (Du gamla, du fria) produced by Pro Film AB and directed by Oyvind Falström. The films stars Marie-Louise Geer, Ann Charlotte Hult, Lena Svendber and Anki Rahlskog. Jorn Donner that year film Hellyys (Tenderness), with Kristi Wallasvaara.
Not entirely history in the making, it was often that the cameramen of the silent film era, much like the onscreen cameos of director Alfred Hitchcock, would appear as actors for one film. Danish silent cameraman Einar Olsen circled to appear in front of the camera in 1973 directed by Svend Wam in the Norwegian film Five days in August (Fem Dogn i August, starring Margaret Robsahm, Kjersti Dovigen and Elianne Linnestad. Nor is it far from being out of place that Bengt Forslund in 1973 wrote and directed the film Luftburen, which
Peter Cowie writes that in the film A Handfull
Theater audiences in Denmark in 1974 were to view the film I Tgrens tegn, directed by Werner Hedman and starring actreeses Sigrid Horne-Rasmussen and Susanne Breuning.
In 1975 Svenska Filmindustri produced the film The White Wall (Den Vita vaggen) starring actresses Harriet Andersson and Lena Nyman. Lasse Hallström that year directed the film A Lover and his Lass (En kille och en tjej) with Mariann Rudeberg and Catarina Larsson. Vilgot Sjoman during 1975 brought Agneta Ekmanner, Christina Schollin, Lil Terselius and Kerstin Hamstrom to the screen for the film Garaget, to which he also penned the screenplay,
In 1975, Solveig Andersson starred in the first film directed by Mats Helge
Mac Ahlberg, directing Marie Forsa as Bert
Justine and Juliette begins with two women walking down a country
During 1974, Joseph Sarno had directed Marie Forsa in Butterfly, Bibi- sundig und suss and in Veil of Blood (Den pornografiska jungfrun). Among two or three films that I love and watch regularly is Abagail Lesley Is back in Town and Laura’s Toys, both written and directed by Joseph Sarno in 1975. The former begins with a vertical division of sand sea and sky b efore it cuts in a shot of a wharf. It stars Rebecaa Brooke and the beautiful Jennifer Wells. The film features early uses of pubic hair on screen, particularly during a scene where two women are in bed together. Ocean, sky and sand divide the screen as the actress runs toward the camera. Laura’s Toy’s stars Catithja Graff, Rebecca Brooke, Anita Eriksson, Anita Redling and Anita Haarla. It was filmed on an island near Stockholm, with scenes filmed in the Old Town; the location belonged to Swedish cameraman Gunnar Westfelt. If not one of the most sensual and erotic films ever made, the nude glamour photography is stunning. There is a vibrator scene with heavy breathing which is later repeated as lesbian orgy. Threre is a cut in of a vouyer listening behind the door. It is repeated again, spliced to alternate shots with a lesbian lovemaking scene.
Ewa Froling’s first film, We Have Many Names (Vi har manga namn, 1976) was written and directed by the Swedish actress-director Mai Zetterling. The film was photographed by Rune Ericson. Jan Halldoff in 1976 brought Anik Linden to the screen in her first film Polare, starring Kisa Magnusson, Anne Nord, Inger Ellmann, Maj Nielsen-Blom, Ingela Sjostrom, Gunnel Wadner and Marrit Ohlsson.
Andrei Feher in 1977 wrote and directed the film Swedish Love Story
Liv Ullmann would return to Norway for the filming of Autumn Sonata (Hostsonat/Herbstonat,1978. It was there that she had been in front of the camera in 1964 for the film De Kalte ham Skarven, which seems to be the only work of director Eric Folke Gustavson. Swedish film maker Ingmar Bergman writes, ”As it turned out, I felt perfectly content to work in the primitive studious on the outskirts of Oslo. Built in 1913 or 1914, the building have left just as they were…Everything we needed was there, even though the place was dilapitated and had not been had not been kept up.” Peter Cowie notes that he had rehearsed the film for two weeks at the Swedish Film Institute and filmed within a month and a half, his then arriving back in Stockholm to direct Strindberg’s Dance of Death. Please note that Katinka Farago was Production Manager for the film. Ullmann teamed with, played against, Lena Nyman. It could be that Nyman’s character is a symbolic character in the film; with Bergman’s knowledge of the Swedish avante guarde of the 1940′s and Lagerkvist, it may be put in place to represent a subdued relovolution of the intellectual, the forefront of a subculture that has fizzled- I’m from the United States and was an existentialist, with a little of Tristan Tzara, Dadaist added at the time of Bergman’s filming and was reading The Tragic Finale by Wilfred Desan, an encapsulation of Being and Nothingness. It could also be a substitute for a child of divorce and Bergman mourning over the unlimited possiblities of having a daughter and as a a character, only a symbolic of what could be in the future, so as to disappear as only a potentiality, were the story to be continued in the epic novel and Bergman to pull the strings of the Magic Lantern away theatrically. It has been written that there is a lack of plot in the film Autumn Sonata, that the core of its narrative is the resurfacing of what is retrospective, which is to say it leads back to the proscenium arc theory of silent film being a form of filmed theater. Novelist Linn Ullman, the daughter of director and actress, appears in the film.
Liv Ullmann, first recipient of the Lifetime Achievement Award given at the Copenhagen Internation Film festival, toward the end of September 2003 was made honorary president of the European Association.
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