Gösta Berlings saga

Three hours + and this movie had me on the edge of my seat till the last picture .Fans of Greta Garbo might be disappointed for her role is not very important in the first part of the saga.

Selma Lägerlof's " Gösta Berling" reminds me of Thomas Hardy's "Jude" and "Tess" .Like them ,he is more a victim than a "defrocked " minister. The structure of the movie is stunning including long flashbacks and flashbacks inside the flashback ,and so many characters it is sometimes hard to remember who is who.But this extravagant melodrama features so many memorable scenes it's impossible to mention all of them:

-Berling in his church,in his pulpit ,in front of the clergy .

-The "Devil" ,some kind of jack-in-the-box ,claiming another soul among the "outcasts"

-The big fire,filmed with a stunning virtuosity

-Gösta and Elizabeth,in their sleigh,escaping from a world they are not part of ,one of the most frenzied romantic scene I have ever seen.

"Gösta Berling" takes us to the decadent aristocratic world of the nineteenth century and depicts its deterioration.It is one of these rare silent movies which can still grab today's audience.

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.

Gösta Berling is a young and attractive minister. Because he is an alcoholic and his preaches are far too daring, he is finally defrocked. He leaves the town in disgrace and arrives at countess Marta's manor. His new job there is to be a tutor to countess' beautiful stepdaughter.

In 2006, the film was released for the first time on DVD by Kino International with the support of the Swedish Film Institute. The new release includes English subtitles, the new music score by Matti Bye, and restoration of the film to a length of 185 minutes. While it is somewhat imposing in length, it really is the only way to see it.

Garbo is a larger than life figure. She has achieved immortality, due in part to roles like this. Though not everyone can name a movie she is in, almost everyone has heard of her. That in itself is quite a feat, considering the great actors of the time who are now forgotten except by the biggest movie nerds.

Mauritz Stiller's amazing film The Saga of Gosta Berling is proof to me of just what an edge the European filmmakers had on the Americans. The cinematography here is often breathtaking. The pacing never flags, and when you're talking about a 180 minute film, that's no small feat. The Kino version I watched, which was the recent restoration by the Swedish Film Archive, also featured a beautifully done soundtrack, something I find that makes such a huge difference -- some of the recent restorations I've watched have featured soundtracks that sound way too contemporary, and I just find that annoying and distracting. Not so here.

But the biggest thing I noticed on my second go-round with this beautiful film was the emotional realism that so many of these wonderful actors brought to their characters. They make mistakes, they regret. They love, they hate, they envy. They are real, believable people, something that wasn't always happening in American films of 1924. Garbo, at this early stage in her career, is already showing star quality. And the now largely -forgotten Lars Hanson is handsome and riveting. Don't let the length deter you from watching this fine and beautiful film.

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