Mademoiselle Julie

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.

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.

A magnificent piece of cinema and a great Strindberg production. It is the second movie by Sjöberg I see after Hetz, and it seems to me that he bestows an unparalleled sensibility to scenes and to individual characters. This comes as a blessing to Miss Julie, since the Strindberg characters are a more or less neurotic and unsympathetic lot, who needs all the empathy the viewer can muster. It is the story of a dangerous liaison between the noble Miss Julie and her manservant Jean. The story takes place after the damage is done, as during the night-long midsummer festivities the two contemplate running away. Now, the times that one of the two change their mind about running away or not cannot be counted on two hands, an it is a good example of why I normally cannot stand stageplays by people like Strindberg, and certain love/hate Bergman movies like Scenes from a Marriage and Saraband. But the immaculate rendering of feelings and passion that stream towards you again is the saving grace and lifts this movie to a much higher level than any of Bergman's gut wrenching offerings. Plus, there are some brilliant narrative goodies like the extremely elegant flashbacks, which intertwine seamless with the present, or the rhythm of calm scenes with emotional ones and the punctual reoccurance of the noisy meandering midsummer night party (acts sort of a Greek choir to the two mains). Also, fantastic camera work, composition etc. Max von Sydow has an unsympathetic bit part, many years before he played for Bergman in Seventh Seal. Already looking forward to seeing it again.

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.

Based on a well-known play by August Strindberg, Alf Sjoberg's Miss Julie depicts the struggle for survival between classes and genders in late 19th century Sweden that leads to confusion and tragedy. Because of its frank portrayal of sex between a lower-class servant and an upper-class aristocrat, the play was banned in Europe until 1906 and in Britain until 1939. It is highly regarded, however, as an important work in the literary genre that became known as Naturalism. Compellingly played by Anita Bjork who completely captures her character's erratic willfulness, Miss Julie, the 25-year old daughter of Count Carl (Anders Henrikson) is estranged from the society in which she grew up and fights against the restrictions placed on her because of her status.

Julie is a rebel who treats social conventions of the time with disdain, though she still demands to be treated as a proper woman. Having recently broken up with her fiancé (Kurt-Olof Sundström) after what would now be called an S&M incident in which she literally makes him jump through hoops like a trained dog, she is open for sexual adventure. The adventure she finds takes the form of the handsome butler Jean (Ulf Palme) whom she seduces following the drunken revelries celebrating Midsummer Eve, a pagan ritual. It is an act which, though only mildly reprehensible today, was viewed as depraved in Strindberg's time and led to the author's characterization of Julie as being "sick".

Although Jean is engaged to the cook, Christine (Marta Dorff), neither Jean nor his fiancé object because they see the act as an honor due to Julie's social position. The seduction, however, leads to her loss of respect from the servants as well as the loss of her own self respect. To escape from their untenable situation, the two lovers talk about leaving on the next train to Switzerland where Jean fantasizes about owning a hotel but the tangled web they have woven leads to unforeseen consequences.

One of the highlights of the film for me was the seamless inter-mixing of dream intervals and flashbacks from childhood. In her dream, Miss Julie is high up on a ledge or mountain. She can no longer hold on but lacks the courage to come down, though she has a longing to fall. Jean, on the other hand, wants to climb a high tree but is unable to reach the top. In flashbacks, Miss Julie recalls how her mother Berta (Lissi Alandh) saw herself as a feminist who was opposed to marriage and only wanted to be the count's mistress. When she gave birth to a daughter, she exacted her revenge by raising the girl as a boy and carrying on various misdeeds until the estate went bankrupt.

Despite its anachronistic and morbid social outlook, Sjoberg's Miss Julie is not a grim experience. The director lightens it up considerably with country scenes of folk dancing, horseback riding, and rowing, all in an idyllic setting, beautifully photographed by Goran Strindberg. Though it reflects Strindberg's distorted view of women as hysterics, Miss Julie is a superb film and a treat for the senses, both visually magnificent and wonderfully performed. It has a well-deserved reputation as being one of the greatest Swedish films of all time.