Ingmarssönerna

It is extraordinary that this amazing film is not repeatedly shown. It is possibly the best demonstration of the genius (not an assessment to make casually) of Sjöstrom - with David Griffiths, the first person to demonstrate his brilliance by making films.

The film's aware mix of the naive vision of the ancestors sitting in the lodge in heaven, which Sjöstrom's character reaches by climbing a ladder to the clouds, and the grim, realist material of the unfaithful wife's child, alone would make it outstanding but finding this at a stage where it had virtually nothing in the way of antecedent is staggering.

Modern prints may not do justice to the sophistication of the film making. The performances do survive un-dimmed. Curious that Sjöstrom was able to take his mastery to Hollywood when the Scandinavian industry faltered but not to survive the challenge of sound - something which remains a mystery that could stand investigation.

Few directors are brave enough to hold shots of people's faces for a long time. Too often scenes are cut too early for the sake of speed. But Sjostrom is not afraid to let the camera linger on the face of a character allowing the audience time to read the emotions that flitter across the face of the actors.

This leisurely told story combines some fantasy elements into a hard-hitting story that does not flinch from confronting topics (for its day). Victor Sjostrom himself plays the lead role of Ingmar which must have been quite a challenge as he was also directing the film. Harriet Bosse is excellent in the role of Brita although her advanced age at the time of making the film is a negative that jars a little and slightly spoils the quality of her performance.

One cannot help being drawn into the film. The slow speed has a hypnotic effect on the viewer and you find yourself avidly wanting to find out how the story ends. It packs quite an emotional punch. Vale Sjostrom!