Der Pfarrer der Entgleisten

"Women in captivity" depicts the interiors of dance halls, glimpses from broken homes, from the streets and doorways where urban youth sentenced to reside. There, the film except an exquisite photography, a French realism and a gray authenticity that engages and captivates and gives development an inexorable logic. The film focuses less on the shelters and women's prison, the pictures and the stories of these seem right uninspiring and officiously necessary. Be that as it may, in comparison to what the film in general stands for; it is the best portrayal of the youth of today and their collision with the problems of life and justice made so far. Olof Molander's directing is full of genuine pearls without ever seeming intrusive or strained. At the same time, as the shooting of this film was going on, unfolded a gigantic turning point in European history, the Battle of Stalingrad.

The script is by one of the most skilful and prolific Swedish writers at the time, Sven Stolpe, and the story reveals a profound understanding, knowledge and compassion with women who get lost in life. The women prison scenes, which don't turn up until in the later part of the film, are almost documentary in uncompromising realism, and for being a Swedish film of 1943 it is way ahead of its time almost displaying something like Italian neo-realism. The actors are outstanding, and the priest's part, Gunnar Sjögren, is an impressing study in civil courage. Among the female actors Gun Wållgren is dominating and as splendid in a wicked part as ever, while Elsie Albiin as the victim is a delicate and sensitive impersonation of a girl who cannot be held responsible for what she is exposed to and whose only refuge is into tears. The music is by Lars-Erik Larsson, perhaps the most eminent Swedish composer at the time, the direction by Olof Molander is serious and restrained, like all his films with psychological insight and feeling for his subject, and there are also great cinematographic moments, especially in the Bergman-like play with shadows.