Fräulein Julie

Sjoberg takes a Strindberg play and converts in into a superb movie. The dramatic conflicts faced by the characters is intense and plausible and almost painful to watch.

The theme is the repression of women and sexual expression, and the rigid class system, in Sweden around the turn of the century, many years before the liberating effects of the victory by the Social Democrats in the election of 1932. It is exemplified by the disastrous attempt by Julie, the daughter of a count, to find love with a man who is well-educated, strongly respectful of his place, very handsome and personable, but of the servant class. The cast gives fine performances all up and down the line. Sjoberg directs with the hand of a master, some scenes expressionistic, some impressionistic, close-ups as needed, long shots perfectly fitted in.

If you are not familiar with Sjoberg, note that a big part of Bergman's startup came from his collaboration with the older Sjoberg on the movie Torment, in which Sjoberg directed and Bergman wrote the script and served as assistant director.

The young miss Julie (Anita Bjork) lives in a mansion with her father. She has recently broken her engagement but is attracted to one of the servants, Jean. They spend the midsummer night together, telling each other their memories and of their dreams. Realizing that an affair between a man of the people and an aristocrat is impossible, they plan to escape to Switzerland.

This film had an interesting influence abroad. Alfred Hitchcock said he had hired Björk as the female lead for "I Confess" in 1952, after seeing her in "Miss Julie". However, when Björk arrived in Hollywood with her lover Stig Dagerman and their baby, Jack Warner, head of Warner Brothers, insisted that Hitchcock find another actress.

What makes this is a great film, beyond the absolutely gorgeous cinematography, is the intrinsic idea of class division. It had been done before and has been done since, but it is a theme that seems to be eternal and always a joy to watch when properly executed.

Some films are so utterly faultless and brilliantly made that one is almost at a loss to find enough superlatives with which to praise them, and yet, at the same time keep it credible. MISS JULIE is one such film, and it seems entirely fitting that one of the greatest Swedish films ever made should be based on the work of one of Sweden's greatest writers. Every single aspect of this film is perfect; the black and white photography, the wonderful musical score by Dag Wiren, the acting from all the cast, but in particular from Anita Bjork who sets a standard in playing Miss Julie that could hardly be bettered. The play which provides the screenplay is of course devastating with the inexorable interplay between class and rank, and human desire and lust overlapping and intertwining, and too, the now almost forgotten concept of "duty" and "honour". If you like movies that make you think, eat away at your heart and memory long after you have seen them, then I cannot recommend MISS JULIE more highly. In the fifty years since it was made, its brilliance has not diminished one jot. A masterpiece and a film to truly treasure.

Sjöbergs best movie. And perhaps the most beautiful Swedish film since Stillers "Herr Arnes Pengar". It's fascinating how Sjöberg captures the different time-levels without interrupting the flow. A true masterpiece and one of few Swedish films that measures up to Bergmans best work in the 50s.

Sjöberg is able to capture complex subjects, at several levels. He does this by moving back and forth in time, capturing reminiscences, dreams, present events, and future imaginings through seemingly seamless film techniques. Yet, the techniques never disrupt the story (which takes place over one day). On the contrary, the viewer is caught 'up in the act' and feels as if he is seeing or experiencing it as it unfolds in the characters' minds. Camera angles, cutaways, use of light and shadow, good acting, and. just about anything you can imagine about good film making is used just here to enhance ideas and feelings. I particularly loved the close ups of children's faces that constantly show the wonder and surprise. (There is a similar look in Julie's eyes as she spies on a working class couple having sex in the barn.) The mood of the film is generally sunny and bright since it takes place on a folk holiday full of fun and merrymaking, Midsummer's Eve

Themes of this film concern the characters' roles and stations in life; how their stations influences the way they see things; and the hypocrisy of the strict class structure in late 19th Century Sweden. The film also involves the roles of women and men of the Swedish upper class. This is demonstrated by showing Julie's mother—in retrospect--as an extreme iconoclast of the traditional gender roles—trying to raise Julia as a boy until her father finally interferes.

The lead roles are brilliantly played by Anita Björk (as Miss Julie) and Ulf Palme (as her servant, Jean). The two only come into social contact after Miss Julie breaks off her engagement with her fiancé and then crashes the working folk's Midsummer's Eve barn dance. Once there, she dances with the embarrassed and angry Jean. Later, as Julie and Jean relate their dreams and pasts to each other--each full of twists and turns--the gap between their social stations appears to break down. However, this apparent bridge has its own twists and turns.

Look for a young Max von Sydow in this 1951 movie as a "hand." He is still acting and going strong!! I have seen him in SO many movies over the years and he almost always makes the movie better.

I have seen other versions of this Strindberg play brought to film--most recently Liv Ullmann's 2014 version with Jessica Chastain, Colin Farrell, and Samantha Morton. However, none seems to give me a more satisfying enjoyment of the play than the old black-and-white version reviewed here.