Herr Arnes pengar

As far as I can tell, this is the first Swedish Silent that I've watched (I'd previously been intrigued by a solitary still – actually used for the DVD sleeve itself – found in "The Movie", a British periodical from the early 1980s); I've seen a handful of early efforts from neighboring Denmark – and the aesthetic starkness in the predominant style of both countries is pretty similar. It's also the first from Swedish master Stiller (I also own his two other well-known titles, EROTIKON [1920] and THE SAGA OF GOSTA BERLING [1924], that were released on DVD from Kino – and I may very well include the latter in my current Epic/Historical films schedule); incidentally, I've only checked out – and was duly impressed by – two American-made pictures from Victor Sjostrom, the other great director to emanate from this country during the Silent era.

SIR ARNE'S TREASURE is best described as a historical melodrama – since the elements typically expected of an epic only really come into play in the scenes involving a fire early on and a sword-fight towards the end. However, one shouldn't overlook the vast and forbidding icy landscape which not only serves as an extremely realistic backdrop to the narrative – incidentally, the quality of the cinematography throughout likens the film to an uninterrupted series of medieval tableaux – but is very much another character in it, since the villains' flight (the perpetrators of a massacre in a household, from which they also abscond with the titular fortune) is prohibited because the sea has frozen over! Notable scenes here include: a cart-wheeling horse falling head-first through cracked ice; the youngest of the thieves having ghostly visions of one of his murdered victims (as it happens, he later falls for the girl's sister…and she with him, which leads to the latter being torn whether to give her lover away or run off with him to Scotland!); the leading man ultimately using the heroine as a human shield against the oncoming soldiers; the closing procession over the ice by the townsfolk to reclaim the girl's dead body (justly considered one of the visual highlights in all of Silent cinema).

The plot also effectively incorporates the element of premonition – such as when the fish-hawker's usually docile canine companion senses impending doom and starts to howl, Sir Arne's wife literally hearing from miles away the preparations for the subsequent assault on her abode, the ship captain's tale of a previous case of poetic justice similarly brought on by severe weather conditions, and the heroine being led by her dead sister to the villains' whereabouts in a dream. The print I watched featured nice use of blue (for outdoor night-time scenes) and red (the afore-mentioned blaze) tinting; the newly-composed accompanying score is appropriately sweeping, albeit making use of mostly modern instruments. The main extras on the Kino DVD involve noted film historian Peter Cowie, who supplies an informative background to early Swedish cinema (where he also discusses the seminal contribution of authoress Selma Lagerlof – who was behind the source novel of both this and THE SAGA OF GOSTA BERLING) and, in a separate featurette, focuses exclusively on the film at hand.

Herr Arnes Pengar / Sir Arne's Treasure (1919) : Brief Review -

Evil vs Love vs Justice. A visually appealing and honest adaptation of Selma Lagerlöf's novel. I knew Mauritz Stiller's name for giving a domestic break to legendary actress Greta Garbo, but this is my first film of him. I am impressed with his storytelling and vision to look at things that were slightly higher than what the graph suggested at that time for Swedish filmmakers. When Selma Lagerlöf's novel The Treasure came out in 1903, Swedish cinema was not even born properly. But even by 1919, nobody had seen such an engrossing storyline in the cinema world. This tale has three basic elements that form a human and its surroundings. Evil, love, and justice. If you try to think about these three things at the same time, it sounds like a weird combo. Evil is the opposite of love, and if evil and love meet each other, they can't do justice. That's where Mauritz Stiller's adaptation has you in for a show, with due credit to the novel, of course. The story takes place on the Swedish west coast during the 16th century and revolves around a Scottish mercenary who murders a wealthy family for treasure with his companions, only to unwittingly begin a relationship with the surviving daughter of the family. Will their love story make things difficult for him and her? Will they ever get together after knowing the truth? Sir Arne's Treasure is more about this philosophical conflict than just Arne's treasure. It has some fantastic visuals that will wow you. I loved those dream sequences and still wonder how they did it with such less advanced technologies. Mauritz Stiller and the technical team deserve full credit for that, and the actors have done a nice job too. Overall, it's a think-about kind of film, which I believe has explored new dimensions in love stories and crime dramas.

RATING - 7/10*

By - #samthebestest.

In Sweden in the 16th Century, three Scottish mercenaries -- Eric Stocklassa, Bror Berger and Richard Lund -- escape from a prison and make their way to the coast. It's the dead of winter, and the sea-road to Scotland is frozen over. Maddened, they invade the home of Sir Arne, burn the place down, steal his treasure and kill everyone except Mary Johnson, who hides, and goes to live at the home of Axel Nilsson, a poor dealer in preserved fish.

Sir Arne's treasure carries a curse, however. It was stolen from a monastery when the Swedes dissolved them, and the death of Sir Arne and his wife was foredoomed. The Scottish mercenaries, however, are now likewise doomed. The seas are still frozen over, so they must wait. While they do so, they hear about Miss Johnson. They go to hear her story and Mr. Lund and she fall in love.

It's a tale of madness and horror. However, while the German movies in that still-undefined genre were psychological and used an expressionist camera, this Swedish movie by Mauritz Stiller uses an objective one, showing a more terrifying, frozen hellscape than anything Caligari's sick mind ever envisioned. This terror is not made by man or devil. It is G*d who seeks His vengeance.

Stiller and Gustaf Molander adapted a novel by Selma Lagerlöf to make this movie. Molander would direct the sound remake after the Second World War.

SIR ARNE'S TREASURE is one of three releases from Kino devoted to Swedish silent cinema and in particular the work of Mauritz Stiller. Stiller is remembered today, when he is remembered at all, as the man who brought Greta Garbo to America. Garbo, of course, went on to screen immortality while Stiller simply went on to his own mortality. After arguing with Louis B. Mayer and others in Hollywood while having made only one film there, Stiller returned to Sweden a broken man who died in 1928 at the age of only 45.

SIR ARNE'S TREASURE shows us what a tragic loss his early death was. A gripping, moody, and extraordinarily bleak film set in 16th century Sweden, ARNE tells a story of greed, murder, revenge, ghostly visitations, and ill-fated passion. It's influence on Eisenstein's ALEXANDER NEVSKY and Bergman's SEVENTH SEAL to name but two films is fairly obvious. SIR ARNE was in turn influenced by Stiller's fellow compatriot Victor Sjostrom's OUTLAW AND HIS WIFE from 1918.

Although extremely well acted by the ensemble cast, the real star is the Swedish landscape which is used to tremendous effect by Stiller and cameraman J. Julius (Julius Jaenzon). Shots of frozen ships, stark stone buildings, and the heavily clothed people reinforce the claustrophobic air of gloom and repression that surround even the minor characters. It's a harsh, unforgiving world that people somehow manage to live in. And this was from a man usually known for drawing room comedies such as EROTIKON (also included in this set of releases along with Garbo's first big success THE SAGA OF GOSTA BERLING).

The restoration by Svensk Filmindustri is truly handsome although at 107 minutes it's missing 15 minutes from the original release time (122 minutes according to imdb), the color tinting of blue, sepia and red is very effective, and the new music score by Matti Bye and Frederik Emilson helps to set the mood the way a proper score should especially for silent films. A most welcome addition to the ever growing list of silent restorations, it should (along with GOSTA BERLING) help to restore Mauritz Stiller to his rightful place as one of the great pioneers of silent filmmaking...For more reviews visit The Capsule Critic.

The Golden Age of Swedish Cinema was in high gear when one of its country's leading directors, Mauritz Stiller, produced what is considered his masterpiece, September 1919's "Sir Arne's Treasure." Stiller had been directing and writing scripts since 1912, and is largely known for being responsible for making Greta Garbo into an international star. His adaptation of the 1903 novel "The Treasure" resulted in the sweet spot for his craft, placing all the internal and external elements of storytelling onto the screen.

Back during that Golden Age, from mid-1910s to mid-1920s, Swedish cinema had been known to incorporate Nature to explain the motivations of its characters' actions. "Sir Arne's Treasure" follows three unfairly imprisoned Scottish mercenary commanders who have escaped their jail cell. In the dead of winter they travel through Sweden's countryside in the late 1500's seeking to return to Scotland. By way of their journey, they hear of a family who harbor a large chest of silver coins. Obsessed by the treasure after experiencng their bone-chilling and starving ordeal, the three proceed to steal the chest of silver and murder the entire family, except for the daughter. A love interest develops between the surviving woman and one of the murderers, setting off a spiritual understanding of the two.

Stiller captures the elemental forces of Nature to steer the plot and explain the impulses of all concerned, including the internal forces overcoming any rational thought. And the overwhelming motive, Love, shines a light on the daughter's actions to save her murderous lover.

"Sir Arne's Treasure" played a huge influence on the composition of directors Fritz Lang and Sergei Eisenstein, the later Russian duplicating almost the exact same scene in his 1944 'Ivan The Terrible' as Stiller constructed in his finale funeral sequence in "Sir Arne's Treasure"--showing a long line of black-clad village mourners contrasted against the pure white snow tredging to the ice-bound boat to pick up the daughter's corpse.