Gösta Berlings saga

The golden age of Swedish cinema (1913-1924) and the rapid growth in Svensk Filmindustrie were influenced by the works of two directors still remembered among many movie buffs today: Victor Sjostrom and Mauritz Stiller. They made a primary contribution to early films' style and, more importantly, their careers spread to Hollywood in the first half of the 1920s. Most importantly, both of them based some of their works on the source novels by Selma Lagerlof, a Nobel Prize Winner, an eminent figure in the Sweden of the early 20th century, a muse of Swedish silent cinema. However, the directors' results from the cooperation with the eminent author were quite opposing.

While Sjostrom, as a typical diligent Swede, won Lagerlof's heart (his timeless THE PHANTOM CARRIAGE), Stiller was not so successful being nearly 'persona non grata' due to his 'liberal attitude' towards the source materials (he tried to interpret it rather than film it). Even the adaptation of her GUNNAR HEDE'S SAGA did not meet with the author's enthusiasm. Therefore, the task to film GOSTA BERLINGS SAGA occurred a hard venture because Stiller had an investigating approach, his directorial attempts were loose, he changed some parts of the storyline, some characters for the sake of the new phenomenon that cinema was. That is the very basic fact about his GOSTA BERLINGS SAGA. Consequently...the strong points of the movie do not, indeed, lie in the faithfulness to the novel but elsewhere...

At first, it is important to note that for many years the film has been viewed on weak copies, which resulted in serious shortcomings within critical reviews. The new formidably restored Kino version (which I had pleasure to see during its premiere on Polish TV on two consecutive frosty evenings) with the lovely musical score recaptures its potential and makes this silent film not only 'endurable' but overwhelming and unforgettable. No doubt many reviewers find the restored version much more appealing. But where does the film's popularity lie?

For many, the film is remembered merely as Stiller's radiant discovery: Greta Gustafsson later known to the world as Greta Garbo. And, as a Garbo fan, I admit that knowing Greta Garbo's films without seeing GOSTA BERLINGS SAGA equals to having an apple tree in the garden and not tasting its apples. It is a must to see Garbo in this role of Elizabeth Dohna: a young, still inexperienced newcomer under the constant dominance of her tutor Mauritz Stiller from the time when, as some of her biographers say, in order to shape her, it was enough for the director to look into her eyes... Yes, Stiller noticed something unique in her and brought it out, to the light of camera. And there are some lovely scenes that capture her radiance, including the first close-up in the sleigh sequence, Garbo picking flowers in the garden and walking downstairs in shadowy interiors. However, the specific feature of the movie is its episodic structure and, what results from it, its numerous characters. In that way, saying that the film is worth seeing due to Garbo would be an unforgivably limited view. The film is a lovely representation of various characters and their lives in the 19th century Sweden. Those truly unique performances are handled by Lars Hanson and, above all, GERDA LUNDEQUIST!

Lars Hanson, a mainstay in Stiller's movies before leaving for Hollywood, gives a captivating performance here as a 'defrocked man of God' depicting his character's frustration, guilt, even curse and constant search for redemption. His wandering from the priest through a tutor, then one of the cavalier fellows to the owner of new Ekeby is filled with breathtaking moments. Women he loves disappear, things he owns gradually decline and nothing seems to be left at certain moments. However, a truly haunting part is portrayed by Sweden's Sarah Bernhardt - Gerda Lundequist as Margaretha Samzelius, the 'Majorskan.' With lots of flashbacks, the vibrant and subtle interpretation of her character leaves a viewer stunned. Perhaps the most memorable factor of her plot is the mother-daughter relation and her mother's curse she strives to get cleaned. Characters have much in common with one another (this aspect of the family relations is also developed in Marianne Sinclair's plot). Among the supporting cast, Karin Swanstrom as Gustave Sinclair and Ellen Hartman-Cederstrom as Martha Dohna are worth noticing, particularly due to the striking features of different female characters.

But what primarily makes GOSTA BERLINGS SAGA a captivating experience are its visuals. Great credit to the terrific cinematographer Julius Jaenzon. The picturesque depiction of Swedish climate and its idyllic landscape (many scenes depict the peaceful images of snow), the artistic use of light and shadow in the interior shots, the elaborate sets and bizarre wardrobe make many scenes real feast for the eyes. Top notch art direction by Vilhelm Bryde! Mind you that clothes are the undertone of characters' features (Martha Dohna with her peacock's dresses and weird hairstyle). The most memorable scenes of the film include the fire at the Ekeby Mansion (in particular Gosta saving the life of Marianne Sinclair), the famous Elizabeth/Gosta's sleigh scene on frozen Lake Lofven (consider the wolves and the formidable final shot of this sequence), Margaret Celsing approaching the house of her mother, Marianne Sinclair knocking at the door of her home, Gosta and his sermon, the banquet at Ekeby and the unforgettable finale at Broby Inn and new Ekeby.

The only flaw that does not allow the film be labeled as 'masterpiece' is its continuity caused by editing and shortening of scenes.

Much more could be said about 'Sweden's GONE WITH THE WIND.' It was a great surprise for me to see it in its restored version with the voice over that helped me follow the plots. A highly riveting silent movie, not merely for Greta Garbo fans. Intensely beautiful symphony of cinema with visual splendor! 9/10

Together with Stroheim and Murnau, Mauritz Stiller is one of the great directors in cinema history who solely directed silent films during his whole career. Even though the majority of his work has been lost forever, some titles have survived: Herr Arnes Pengar (1919), Sangen Om Dem Eldröda Blomman (1919), "Erotikon" (1920) and "Gunnar Hedes Saga" (1923). These famous films are enough to confirm that Mauritz Stiller has been and are one of the best directors of the seventh art through its long history. He has been able to elevate the "silent art" to that great level that we can still now enjoy and appreciate.

One important turn in his work was his last movie made in Sweden: "Gösta Berlings Saga". This film had disastrous consequences for his career, as this Germanic count will narrate later on.

Stiller, together with Victor Sjöström, were the "father founders" of the Swedish cinema. Together with Sjöström, he is the most famous film director of the 20's. This notoriety was not only in his country because his film "Sangen On Den Eldröda Blomman"(1918) made him world famous, a status confirmed definitively with that masterpiece "Herr Arnes Pengar" (1919).

It is very difficult to write about Stiller, even in Germanic, because it is not easy to find all the adjectives to define his great career; his work had the beauty of a great stylist able to make master pieces in such different genres as "saga" (those great stories of the Swedish literature) or that most sophisticated comedy ("Erotikon" (1920) ). He was a director who had a big influence, even on German directors as Herr Lubitsch who was then defining his unmistakable "touch".

The legend of Gösta Berling is related to the "epic" part of his work. There are big stories replete with character with different backgrounds in several situations that the Nordic director manages very well.

The film is an adaptation of a book written by the famous Swedish author Selma Lagerloff, who by the way, had many disagreements with Stiller's adaptation (ah…., the eternal "auteur" ego problems, almost as classic among the aristocrats'!). Changes were made due to Stiller's lack of respect for the text, who changed it according to the necessity of the film, more specifically, according to the "visual needs" of it. As this Germanic count mentioned before, Stiller is a great stylist, always looking for visual beauty (although it is important to mention that he does not look for hollow images or simple postcards). His interest is very different. In a way, he is delighted on the aesthetics of certain scenarios to show us the most miserable side, the squalor of the whole surroundings.

In spite of those stylistics disagreements between author and director, this Teutonic count asserts that the cinematographic adaptation is excellent. Keeping in mind the fact that it is a very dense and complicated novel, filled with characters.

The Leyend of Gösta Berling tells us the story of Gösta, a drunkard minister who is expelled from the priesthood for his "habit" (weird Nordic tradition, those expellings…). But the bigger problem with his parish is his truthfulness. Jobless, Gösta finishes in Värmland, a state managed by the people of Ekeby.

Gösta's strong personality and his special charm with women will bring him many problems. Two powerful families full of hypocrisy, lies and adultery; rule two estates in Värmland and they will surround Gösta with plenty of intrigue, confusing him and costing him a lot of problems to which he was a stranger to begin with.

Only at the end of the movie, will our hero will get his redemption from the hand of Elisabeth, performed by the fascinating Greta Garbo.

It has to be mentioned that for many long-haired, Stiller is still "only" known as the finder and creator of the divine Greta Garbo; which it is true because thanks to Stiller, Ms Garbo got her first great film performance due to her appearance in this movie. This is a great injustice because reduces Stiller's creations to a second place.

It is compulsory to praise all the actor's great interpretations in this movie. They were really memorable, not forced at all if we take into consideration that around that time it was something very difficult to obtain with certain adaptations or argumentative plots that tended to excesses. It is a movie where also big natural spaces predominate, another of recurrent theme of Stiller. This movie combines the beauty of the frozen landscapes with the danger in them.

As this Germanic count said before, the success that "The legend of Gösta Berling" brought to Stiller and Ms Garbo had a different repercussion in their future careers: for her, the beginning of a mythic career, a cinematographic icon that prevails and still impresses us. For him, the beginning of the end as a director when he started a new phase in the United States that lasted for four unhappy years.

Watching the formal and stylist beauty of "The legend of Gösta Berling", one realises, even the oblivious Germanic aristocracy, the great loss for the cinema that occurred with Stiller's premature death. He was a fundamental director for both the Nordic and global cinema. His great work has been timeless.

And now, if you allow me, I have to leave you momentarily because this Germanic count has an appointment with a Swedish sweetie.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

The Saga of Gosta Berling is without a doubt one of the most beautiful and haunting films I have ever seen in my life. I was lucky enough to only see the improved Kino version, however. Trust me, if you long to see this incredible film, please just save up and buy the elegant Kino version. You won't be sorry you did! No other cheaper version will capture the story and it's just not worth it...

The film is long (three hours) but every second is precious. Perhaps it could have been cut shorter to make the plot more simple but who would want that? Hopefully I'm not the only one but when the words "The End" come across the screen my heart aches and I truly want more. Despite how long the film is, many elements from the book by Selma Lagerlöf had to be cut out in order to avoid a ten-hour-long drama. Be sure to hunt down a copy of the story and read it for yourself. Each and every character is so complex and interesting and every chapter is like a moving short story.

The acting is absolutely superb. Hanson and Garbo have such amazing chemistry that you literally feel as if you'll melt when they simply stare at each other with their expressive, longing eyes. Besides the two main stars, everyone gives great performances, besides Torsten Hammarén. He seemed to have the same annoying facial expression the whole time. Maybe that's just the way his character was suppose to be (Henrik Dohna) but I doubt it, since I recall his character in Erotikon (1920) having that same, stupid look.

The main reason I encourage everyone to see the Kino version is for the soundtrack. The soundtrack for the Kino version of The Saga of Gosta Berling is soaring, gorgeous, and completely wonderful. It's the greatest soundtrack I have ever heard for a silent film. I literally get goosebumps on my arms when I feel the melodies run through me. Matti Bye has created a score that fits the story so perfectly that it's unbelievable.

Everything and everyone in this film is stunning visually. We get to see many shots of the magical country of Värmland and its ravishing scenery. Many lovely actors and actresses were chosen and they absolutely glow with beauty. Lars Hanson and Greta Garbo are both hauntingly beautiful, along with the actress Mona Mårtenson, who plays Ebba Dohna.

Honestly, I can't come up with anything to say except, please watch this film and read the book too. The story will never leave you.

Greta Gustafsson grew up in an environment that offered scant hope for a little girl who loved to act. Youngest of three children, Greta remembers living in a small Stockholm, Sweden apartment where in the evenings after work "my father would be sitting in a corner, scribbling figures on a newspaper. On the other side of the room, my mother is repairing ragged old clothes, sighing." She claimed there was always tension in the air, making life for the sensitive girl not very pleasant.

Later, as an 18-year-older, her acting ambitions were slowly realized. Greta was able to get her foot in the door primarily because she possessed a pretty face. Gustafsson appeared in several print advertisements before she popped up in a brief filmed scene while attending the Royal Dramatic Training Academy in Stockholm from 1922 to 1924. Director Mauritz Stiller, famous for his cutting-edge 1919 'Sir Arne's Treasure' and 1920 'Erotikon,' spotted Greta and signed her to play a part in his March 1924 "The Saga of Gosta Berling."

It was this movie that Louis B. Mayer, who had just merged his production studio with Metro and Goldwyn's Pictures to create MGM Studios, was in Germany looking for new talent. Swedish director Victor Sjostrom, recently hired by Mayer, recommended he see the work of his friend Stiller. There's differing accounts on what happened when the film producer saw "The Saga of Gosta Berling," but Myer's daughter recounts him saying upon seeing Gustafsson, "This director is wonderful, but what we really ought to look at is the girl ... The girl, look at the girl! It's her eyes. I can make her a star."

Gustafsson eventually went to Hollywood, where she was given a new name. Studio executives kept the Greta, but her last name became Garbo. The Swedish actress would become the fifth greatest actress in cinema, according to the American Film Institute. Not bad for a girl who never attended high school, which was par for the course for working class Swedish school girls, something that for the rest of her life Garbo claimed gave her an inferiority complex.

"The Saga of Goat Berling" has been tabbed the Swedish version of America's epic "Gone With The Wind" for the breath and scope of its plot. Gleaned from Selma Lagerlof's 1891 novel, the movie's about a Lutheran minister who's fired by church elders for his drinking habits as well as for his controversial sermons. Gosta Berling receives a job offer to become a tutor to a countess' daughter, Ebba. The countess hopes her new tutor will marry his pupil before her son, Henrik, whom she despises, gets the countess' inheritance. Henrik soon returns from Italy with his supposed new wife, Elizabeth (Greta). Towards the end of the movie, which is chock full of flashbacks and intrigue from a number of participants, Elizabeth sours on Henrik, but not before she's in an exciting chase on a horse-drawn sled with Berling trying to outrun a pack of hungry wolves on a frozen lake.

It had been noted that since she was so new in front of the camera Greta needed a good dose of champagne before her big scenes. Most of "The Saga of Gosta Berling" production was without her. But her first appearance, 40 minutes into the three-hour plus film, and a reappearance in the last 15 minutes, changed forever the girl who grew up in relative poverty in a Stockholm slum.

"The Saga of Gosta Berling" pretty much marked the end of 'The Golden Age of Swedish Silent Cinema." With highly-regarded Sjostrom already in Hollywood and Stiller with Greta and actor Lars Hanson, who played Berling, soon departing for California, the leaders of Sweden's film industry were gone. With the exception of Garbo, the rest of Sweden's superstar directors had only a modest success in the states, unlike in their native country.

I have to change my previous review as I have watched the true version with a pretty darn good soundtrack that Kino released onto DVD and about time too. All I can say is that if you have seen the atrocious VHS version then do yourself a big favour and buy this one, there is simply no comparison, if you haven't seen the VHS version, well, do yourself a favour and get the DVD anyway. Garbo is very young in this and quite unrecognisable, but, she is very good as Elisabeth. You can see why Lars Hanson was later hand picked by Lillian Gish to star with her in "The Scarlet Letter" and "The Wind" and hopefully this will increase his fanbase. And you're left wondering why director Mauritz Stiller never became the success that another Swedish director Victor Sjostrom was.