Preface: Modern Swedish FilmIn order to return to the subject of Scandinavian film it was necessary to revisit a completed blog entry during a film starring Marie Liljedahl, which is easy to type if using the Blog This feature while the film is in progress. The Lunascape browser has a split screen feature while watching films on Veoh.com and Veehd.com.The film has so far had two beautiful scenes, one where Marie Liljedahl is show in a bathtub before a scene where the two women are suntanning nude and applying lotion before they begin to kiss- the other a scene filmed entire in red and silhouette, more haunting than Bergman's Cries and Whispers, where Marie Liljedahl is on her bed before she is seduced, the use of showing her pubic hair, as in the tub again an erotic effect, but far more sensual with the contrast in atmosphere in the two scenes. I donnot as of yet know what's going to happen in the film and apologize for the difficulty of its availability in the United States. And yet, since revising this page, I discovered from the Scandinavian Film Periodical Film International, that another Swedish Film actress, one central to my points of departure on the seminal work of the time period has since passed away.
In the film Ingmar Bergman Makes a Movie (Ingmar Bergman gor en film, 1963), Vilgot Sjöman begins with a brief synopsis of the film Winter Light before his interviewing director Ingmar Bergman. Bergman discusses his use of complete silence in the film, a silence that has fallen upon the character. He explains the use of the actors' eyes in the film. Edited into the film is behind the scenes footage, including numerous shots of Ingrid Thulin trying on various pairs of glasses. Sjöman shows Bergman filming and his methods of blocking, 'The faces and the dialogue are to tell the whole story.' Sjöman's camera films Bergman's tightly enough to fill half the screen with the same shot as Bergman's from a different angle. Sjöman then interviews Bergman during the postproduction of the film, 'You always cut during movement. That way the flow isn't interrupted.'
The director Ake
Falk filmed Swedish Wedding
Night (Brollopsbevsvar) in 1964 and in 1966 filmed The
Princess (Princessan), based on a novel by Gunnar Mattsson,
starring Grynet Molvig and Monica Nielsen. The film was photographed by Mac
Ahlberg. In 1968, Falk directed Vindingvals with Diana Kjaer.The film is
based on the novel by Arthur Lundkvist and photographed by Mac Ahlberg. In
1959 the director Olle Hellblom had brought Christina Schollin to the screen
in Blackjakets (Raggare). Hans Abramson directed actress Christina Schollin with Harriet Andersson in
Ormen-Berattelsen om Irene (1966), photographed by Mac Ahlberg for Minervafilm. Torgny Anderberg in directed her in the film Tofflan
(1967). Torgny Anderberg in 1968 directed Anita Bjök in the film Comedy in Hagerskog
(Komedi i Hagerskog). Based on a novel by Arthur Lunkvist, the film
stars Ulf Brunnberg and Monica Nordqvist. Marianne Nilsson and Yvonne Norrman both starred in their first film in 1966, Den odesdigra klocken, as did Carina Malmqvist, daughter of the director Bertil Malmqvist.
1966 also brought Christer Banck to the screen in the title role of Peter Kyllberg's film Jag. Also in the film are Tove Waltenburg, Agneta Anjou-Scram and Magaretha Bergström. The screenplay to the film was written by its director.
As a precursor to the fast moving rise of sexual-relationship/sexploitation on screen, erotic literature in 1965 and 1966 brought the publication of novels like Forvildad Ungdom by Leif Lindgren, Atra i Mote by Sten Jonson and Syndagogan by Alban Osterlund. Twilight Woman around the World, written by Leighton Hasselrot, had been published two years earlier in 1963 and Termac, if seemingly only to add titles to its catolog or not, reprinted the volume Mitt liv lust, written earlier in the century, bu Frank Harris.
In his book I Was
Curious, diary of the making of a film, (Jag Var Nyfiken), Vilgot Sjoman
offers daily entries during the shooting of a film that he hoped would ' draw
on the actors' own lives and ways of life for material.' The girl in the film,
portrayed by Lena Nyman, is 'curious, lively, cute, with an extraordinary
appetite for reality. She wants to know everything.' Sjoman begins the diary
with an account of a discussion he had had with Swedish film director Keene
Fant, two scripts he had been writing, The Hotel Room and The Art of
Breaking it Up and a script written by Kristina Hassrlgren that he had
hoped to film, Bessie, and then continues to a dinner conversation with
Ingmar Bergman ,during 1966,where the two had discussed Sjoman's wanting to film with Lena Nyman. Bergman reminded Sjoman of his despair before his having filmed Persona. Sjoman wrote in his diary that he was also interested in bringing actress Maria Emmanuelsson-Scherer to the film, "She did a very fine screentest for The Dress." While considering, he thought highly of a screentest from actress Gunilla Ohlsson for her being cast instead the same character. Yngve Gamlin had originally loaned Sjoman the use of a summercottage on which to shoot location scenes with Gudron Brost, to which Brost had consented. During filming,Sjoman was privaleged to Lena Nyman's diary, where she begins to illustrate the character she was about to create in the first scene of the film, which the reader is immediately reminded of from her description. About the film, author Tytti Soila notes, 'Most of its content was improvised and put together with the help of those who participated in the film,' her calling it a 'metafilm where the different planes of reality flow in and out of each other.' Before filming, Kristen Berg is added as scriptgirl and Lena's diary includes the entry, "Vilgot wants us all to make suggestions. vilgot wants me to write down and send him all sorts of episodes of things that have happenned to me. Everything I've already told him and anything more I can find in my diaries." There is a patch of grass in Djurgarden that hopefully still belongs to the director Vilgot Sjoman and scriptgirl Kerstin Berg. He writes in his diary about having dinner with her, "Train as a scriptgirl? She'd make a good one. I'm suren of that." and adds, "She is twenty-three and goes to drama school (Royal Dramatic Theater). I am forty and direct films-in such a situation there's enough latent explosive material as it is." When Kerstin decided she wanted to be a scriptgirl, Sjoman visited Janne Halldoff and asked if she could become an unpaid assistant on his film Life is Just Great (Livet ar stenkul, 1967)
I Am Curious Blue begins with there being actresesses interviewed by a film director, and then cuts to a group of women filmed in alternate close ups during a discussion on sex. There is a shot of two women in near profile in closeshot, one in the foreground of the shot, the other also in profile behind her within the same frame. Sjoman zooms on one of the women during a group shot of the women together. Intercut are scenes of him in a theater watching the rushes with Lena Nyman, who is then seen with him behind the camera. She begins being filmed in Stockholm's Tidninggen, near the water, wearing a tight skirt in profile, it almost being a mini-skirt. As to foreshadow, Sjoman, who often appears on the screen as an actor playing the director of the film, says, 'A love scene without consequences would be pointless.' The film almost cuts too quickly to a scene where Nyman is seen in bed with her lover before their both orgasming and quietly on a pillow in the darkened room with him in a post coital moment. The two wait to get dressed during their conversation, their being nude together as they talk possibly seeming prolonged compared to the legnth of the previous scene where they were in bed. The next scene begins with exterior shots of her kept in an introspective voice-over narrative, the scene itself being filmed mostly in a church and during a discussion on marriage, particularly in the churches of Sweden. It may seem as though the character is encountering what she sees as complacency within a culture then aspiring toward being moderately liberal, and yet this itself is for character interest, almost to where the actress in the film is kept too far from her sexual fantasies during the story line, and kept from disclosing them in as much as the plotline keeps it to the periphery. The story line is often kept minimal during the film, as though condensed as it follows Lena throughout its locations and yet the nudity is not entirely placed as being gratuituous be the film's being cenetered around her. Later, Lena Nyman is filmed at a lake in a nude swimming scene, her getting out of the water in full shot, in profile, the camera stationary as she moves in front of it. The camera is again stationary as she sits indian style by the waters edge. The scenes by the water are almost seperate from the scenes where she is making a film with Sjostrom. She is then filmed at what seems to be near dusk, watching two women making love, which ends abruptly as Lena leaves.
During the revising of this webpage, the lovely, erotic fleshy sexually experienced Lena Nyman, passed away on February 4,2011. Hakan Bergstrom had directed Lena Nyman in her first film, Fargligt
lofte (1955), that year her also appearring in the film Luffaren och
Rasmus. Ms. Nyman appeared in the film Skenbart (2003), directed by
Peter Dalle and starring Gosta Ekman, Anna Bjork and Kristina Tornquist, its
screenplay having had been being penned by Lars Noren. She has also recently
filmed under the direction of Colin Nutley. The films
of Vilot Sjoman were screened of at the Festival du Cinema Nordique during the
second week in March, 2004.
Having directed Gia Petre The Doll (Vaxdockan) with Per
Oscarsson in 1962, Arne Mattsson also that
year directed Eva Dahlbeck, Christina Schollin and Sigge Furst in Ticket to Paradise (Biljet till paradiset) and Anita Bjork and Lena Granhagen in
Lady in White (Vita frun) . In 1963 he directed The Yellow
Car (Den Gula bilen), starring Barbro Kollberg and Ulla
Stromstedt and Yes He Has Been With Me (Det ar hos mig han har varit). Actress Elsa Prawitz wrote three screenplays that were filmed in Sweden, all directed by Arne Mattsson, this the first, scripted under the name Pia Elitz based on a novel by Eva Seeberg. Produced by Nordisk Tonefilm, it is a film in which Eva Sjostrom, Lena Nyman and Britt Ekland appear on the screen, as do Elsa Prawitz, Inga Landre, Britta Petterson and Viveka Linder. Prawitz also wrote the screenplay to Mattsson's 1967 film Den Onda cirkeln. Swedish Film director Arne Mattsson followed in 1964 with Blue Boys. Arne Mattsson his then
directing Morianera (I the Body, 1965), a film which starred Eva
Dahlbeck and Elsa Prawitz. Gunnell Lindblom was in front of the camera for two films directed by Mattsson ,A Woman of Darkness (Yngsjomordet,
1966) and Den Onda Cirkeln (1967). The latter also stars Gio Petre, Marie-Louise Hakansson and Eva Larsson. Also that year Mattsson directedMordaren-en helt vanlig person (1967) with Allan Edwall.
Before Hon Dansade en Sommar had been adapted to the screen by the
director Arne Mattsson, the Swedish author of erotic literature, Per Olof Ekstrom had published
his first novel, En Ensamme, in 1947. Mattsson was later to pair the
actor and actress of the film together for a second film.
Jacobsson and Folke Sundquist, along with Gio Petre, starred together in The Teddy
Bear(Bamse, 1968). Bergman has said, possibly only softly, 'Take a
look at any of Arne Mattsson's films and you'll see how camera movmement
replaces everything. What I call technique is knowing how to affect the
viewer. And that's why its a wrong use of words to say that Arne Mattsson and
Torbjorn Axelman are clever technicians.' And yet it is particularly this that
in the art film can be combined with narrative; especially beautiful is the
scene where harpsicord is being played in Ann and Eve (Ann och
Eve, 1971); especially beautiful is Marie Liljedhal,
varying camera positions keeping her on the screen. One of the opening scenes
to the film is an interior dialouge scene where she says, 'All I know is that
I love him and that's enough for me.' and 'I'm sure marriage isn't easy.'. In
the scene there is almost a dramatic use of space that carries their
conversation and lends added significance to each line as it is delivered. To
conclude the scene, Mattsson tightly films her in medium close shot from a low
angle, her then pivoting during the shot to walk away from the camera in over
the shoulder shot, it then cutting abruptly, almost before she is in medium
shot. Marie Liljedahl has not yet been seen nude or semi-nude in the film. While in the
opening scene the camera zooms into close shot on each character as they are
looking at each other in two adjacents shots, one instance of an approximation
of the feminine gaze later in the film is where both female characters in the
scene are looking off camera toward another character as they discuss how much
they might happen to know about him, Marie Liljedahl listening to Gio Petre
without her eyes changing the direction in which she is looking.
One of the most beautiful films to be shot in Sweden, although filmed with
black and white stock, Inga (Jag en oskuld, 1967) introduced Marie Liljedahl to
audiences in the United States. During the film, there is a dialouge scene
that takes place in a suana during which the is a beautiful shot of her that
dollies back before she comes toward the camera. During an early scene of the
film, characters are kept at a diagnal to each other, one in the foreground of
the shot, the other in the background, during their conversation. There is
then a cut to a scene during which Greta is sunbathing and reintroduced to a
former lover. Marie Liljedahl enters the film by entering a living room from
what appears to have been her bedroom, as though already dressed for bed, she
had returned to say good night; in the film she is about to leave to meet
Greta, who is her aunt. Characters during the early scenes often deliver lines
at a diagnal to each other, but in close shot, one behind the other at their
shoulders, almost off to the side, as they both face the camera. In a scene where she is showering she begins by balleticly holding her soap over her head before she lathers herself. Before getting out of the shower to towel herself and brush her hair, whether or not it is the work of a young actress who had been a ballerina and a way for her to play the scene easier, she again reaches into the air with the grace and timing of ballet, which when filmed brings an eroticism to her solitude and makes her seem not only less aware of the camera but less subject to its inhibitions as her movements are allowed an unseen freedom of beauty.
I included the actress Marie Liljedahl in the internetcopy of the novel that I'm writing, not only hoping that a theme that could complementarily complement what I am now writing, but hoping that the actress Marie Liljedahl's interpretation of Inga in the film and its sequel, Inga Two,The Seduction of Inga would deepen the character as a sex-symbol, as a desired object and interpellate the reader into a deeper identification with the character that I am still at the moment creating and developing. Whether or not my created character is a ballerina, or actress, or university student, I would like there to be facets attributed to Ms. Liljedahl onscreen, much like the feeling of one gets with Vadim's Barbarella, or Bardot in Viva Zapata (Malle). Marie
Liljedahl also appeared in the film Inga Two/The Seduction of Inga
(Nagon att alska, 1971). Nearly titled Inga and Greta, the film was shot in part on location in Stockholm. The title sequence of the film opens with the camera dollying back on Marie Liljedahl about to get out of bed and then cuts to a shot of the camera panning up to film her in the shower in close shot, slowly beginning with a close shot of her feet, the water sliding downward on her skin and in front of the lens, it keeping her in near profile as it pans up to her nude hips and above them untill the actress is in close up. The camera then cuts to a shot of her dressing, as she puts on a pair of blue underwear and a flowered blouse as she is introduced by a voice over narrative. She is almost more beautiful filmed in color on the screen than in Inga during the first scens of the film, her long hair upon her shoulders framing her face, much as in the film Anna and Eve, which opens with a similar scene of the actress in a bedroom before getting dressed. She is demure with something reticient about her feminity as in the earlier film, there being a sensuality of her looking almost near the camera with her lips tightly closed and all expression left to her eyes. In an early scen she is shown in a retrospective narrative on her bed in a thin pink nightgown whith shots from the earlier Inga intercut, again with the use of a voiceover narrative, her questioning herself about her needing to be in love. She becomes the secretary for a writer of erotic novels, with whom she begins a romatic intrigue. She is exceptionally beautiful, quite possibly sultry shown making love, although only briefly on the screen, the curve of her hip and thigh in close shot. In a later scene she is again brought to the screen while making love, shown in close shot horizontally from only her shoulders to her knees. The director cuts to a post-coital scene to reveal her body more fully as she outs on a coat nude, in profile full shot, her shoulders pivoted so that the contour of her shoulder and outline of her breasts is within the frame, but the outline of her hips in three quarter profile is shot near over the shoulder, the back of her thigh toward the camera and her knees facing away from it as though hidden, the back of her calves toward it. In a later scene she is again filmed nude over the shoulder while dressing, her bending her knees to bring the camera and the beauty of movement into relationship, the actress silently graceful as the position of the camera waits during a stationary shot that ends a series of shots. The plotline of the film tightens as Inga is reunited with the novelist, who in turn is reunited with Greta, portrayed by Inger Sundh. It is brought to a near resolution with the line of dialougue, 'Inga, I don't know what to say.' She again dresses silently in front of the camera before Greta and Inga make love, their beginning noth on their knees, facing each other.
For anyone who has seen her in film,
particularly of interest is her brief inclusion in a dialouge scene in
Eva-den uttstotta. Shown in the United States as Swedish and
Underage(1973), the film stars Solveig Andersson. During
the film there is a dialouge scene where Ms. Andersson, in an attic, is trying
on a hat in a mirror shot. The line delivered by Marie Liljedahl is 'But I
don't see a connection between them.'
In between the films Inga and The Seduction of Inga, ballerina-actress Marie Liljedahl appeared onscreen as Snow White in West Germany, during the film Grimms Marchen von lusternen Paichen (1969), written and directed by Rolf Thiele and starring Ingrid van Bergen, Eva V. Rueber, Kitty Gschgof, gaby Fuchs, Evelyn Putree and Isolde Stiegler. More stirring is her appearance in Eugenie (Franco,1970). It is a horror film with Christopher Lee, but the scenes are intercut, so that the film, like Veil of Blood, with Swedish actress Marie Forsa, is listed under sexploitation, and filmed in Liechestien centers around a plot near to the film Anna och Eva, it opening on an island and moving quuickly to a bedroom interior, there being included a panning shot of Marie Liljedahl while she is on her bed that equally shows how provacative the miniskirt is that she is wearing. The scene later is rearticulated with Liljedahl in her underwear. In that there is an earlier scene of Maria, the older lesbian, nude on a table during a cult worship, the shot within the context of the film may be used as contrast, one actress being positioned nude on her back, whereas the other is on her stomach; if so, it is atmospheric in regard to the dramatic, and discloses no plot event, merely depicting both characters in their contrasting and not yet conflicting circumstances. The red miniskirt fits accurately, snuggly, upon Liljedahl's breasts while she is in profile, and, she bends her knees to show the glamour of its hemline. The lesbian activity begins with a mirror shot with a direct cut to a scene where she is taking a bath, the mirror as surface and and the water as surface within which she is immersed only atmosphericlly dramatic and not overtly symbolic of a narcissism within lebianism, and yet there is a beautiful early use of showing her pubic hair within the adjacent shots that connects the mirror with her being a loved object and object of desire- her pubic hair being included in the shots seems like freedom and gratification have been both released, although the scene is queit and subdued in its excitement. The scene is continuous, leading to a nude sunbathing scene where the two apply lotion before they kiss. Following it is seduction scene belong to the horror plot proper filmed entirely in red, the entire interior bright crimson as she is in bed, the shift of scene converging two dramtic tones, both erotic and cinematic syntax bringing the different mood into play. She is seen by the vampire-occult figure as vouyer and is filmed in close shot making love, her nipples prominent on the screen.The film returns to a beautiful mirror shot filmed in her bedroom before the plot is resolved and he can have her without the others, pleasure, and inevitably the pleasure of their seperating-it is almost his effort to save her, which includes how the film ends, with a temporal loop.
I also include with my novel, trailers to the film in which actress Essy Persson appears. For the one, I like her and secondly, they are early pre-sexplotation films that weave plots of erotic romance. Torjborn Axelman directed Essy Persson and Margareta Sjodin in Vibration
(Lejonsommar, 1968), photographer by Swedish cinematographer Hans Dittmer. Like the film Inga, Therese and
Isabelle is a film that can be cherished very much, it being the film that
may have introduced her to most audiences in the United States. There is a
scene where the Swedish actress is in bed alone begininng to orgasm that is particularly
beautiful, filmed much like the scene in Gustav Mutachy's film Ectasy
(1933) with Hedy Lamarr. There is also a later scene of the two women in bed
together with a voice over poem included. Silently staring after having
undressed before the two are in bed together and after, Anna Gael is stunning
in the film, Essy Persson is hauntingly beautiful. Writing about the film, author Joan Mellen describes it as being a film in which, suprisingly, both female characters are sexually fulfilled. Writing well into the second half of the last century, she views the onscreen subject positioning of femininity more as the difficulty of creating the image of the liberated woman. She cautions that in regard to the films of director Ingmar Bergman in particular, this is represented by a presenting of female characters as principally being a biological entity in that their sexuality may be dependent upon a fraility, a fraility which then becomes the object of a voyeurism for the spectator, one film in which this curiousity on the part of the audience is sought being The Silence.
In 1966, Essy Persson had starred with Gunnar Bjornstrand in
Trafracken, directed by Lars-Magnus Lindgren (the film was shown in the
United States under the title Her Only Desire in 1969). In 1965, Ms.
Persson appeared in the films Flygpan saknas and Operation
Lovebirds(Sla forst, Frede!). Torbjorn Axelman directed Margareta
Sjodin and Grynet Molvig in the film Hot Snow (Het sno, 1968), photographed by Hans Dittmer.
By 1974 Mac Ahlberg, who had directed Ms. Persson in I, a Woman
(Jag en kvinna), was directing in Sweden under the name of Bert Torn
with the films Swedish Sex Kitten (Flossie) and The Second Coming of Eva (Porr i Skandalskolan). Absolutely
gorgeous, her face kept in medium close shot while she is orgasming under the
direction of Joseph W. Sarno, Marie Forsa appeared in films that are nearly
seminal to contemporary film-making, among those she appeared in being
Ahlberg's film Molly (1977). Anne Magle (Anee von Lindberger) also
appears in the film. Christa Linder and Marie
Forsa both appeared in the film Bel Ami. Before having directed Marie Liljedahl and Marie Forsa, Joseph W. Sarno directed the films Sin in the Suburbs, The Love Merchant (1966), Come Ride the Wild Pink Horse (1967), The Love Rebellion (1967) and Scarf of the Mist, Thigh of Satin (1967).
In Finland, Kristina Halkola and Kristi Wallasvaara had been fiming under the direction of Mikko Niskanen with Under Your Skin (Kapy Selan alla), their both appearing the following year in the director's film Girl of Finland (Lapualaismorsian).
Based on a novel by Gustaf Sandgren, ...som havet nakna vind,
starring Lilemor Ohlson
and Gio Petre, was directed by Gunnar Hoglund. In 1969, Claes Fellbom wrote
and directed The Shot (Skottet, starring Diana Kjaer, his also
that year directing Den vilda jakten pa linkbilen. The previous year
Fellbom had directed Monica Nordqvist, Erik Hell, Ollegard Wellton and Lissi
Alandh in the film Swedish Love Play
(Carmilla), photographed by Ake Dahlqvist.
Both Stellan Olsson and Jonas Cornell directed films in
1969, It's Up to You and Hugs and Kisses respectively. Cornell
also directed Agneta Ekmanner and Gosta Ekman in Like Night and Day
(Som natt och dag). Stellan Olsson directed and co-wrote with Per
Oscarsson the 1969 film Close to the Wind (Oss Emellan) starring
Per Oscarsson, Barbel Oscarsson and Beppe Wolgers. Astrid Henning Jensen
directed and co-wrote with David Richardson the 1969 film Me and You
(Mej och Dej/Mig och Dig) starring Sven-Bertil Taube and Lone
Hertz. Swedish film director Jan Halldoff appears on screen in the film.
Torgny Wickman in 1969 directed the film The Language of Love (Ur
Karlekens Sprak) with Maj-Briht Bergstrom-Walen, Solveig Andersson and
Inge Hegeler. Inge Ivarson produced the film for Filmproduction Investment. Torbjorn Axelman that year directed Kameleonterna with Ulf Brunnberg, Mona Hakan
and Monica Stenbeck. Behind the camera for the film was photographer Hans Dittmer. Goran Gentele in 1969 teamed Jarl Kulle and Gunn Wallgren, along with Meg Westergren, Per Oscarsson and Margareta Sjodin in the film Miss and Mrs. Sweden, scripted by Lars Forssell. Stig Lasseby in 1969 directed King Adil's Necklace (Sveagris), following it in 1970 with the film For sakerhets skull. Jarl Kulle wrote and directed the both the 1969 film The Bookseller Who Gave Up Bathing (Bokhandlaren som slutade bara) and the 1970 film Ministern, the Swedish actress Helena Brodin having appeared in both. In 1969 Gun Falck and Gunilla Iwanson appeared in a
fairly beautiful film, Yes (Kvinnolek), shown in the United
States as To Lisa My Love Ingrid, photographed by Ake Dahlqvist, his
almost studying the contour of the nude bodies of the two women while they are
together, in bed. The screenplay was written by Chris Tonner.
|1969 also saw the publication of Den som ar utan synd, writtten by per Olaf Ekstrom.|
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