KARIN INGMARSDOTTER (Victor Sjöström, 1920, Sweden, BW)
(Karin, Daughter of Ingmar)
Also known as God’s Way in the United Kingdom;
Die Karin vom Ingmarshof in Germany
Directed by Victor Sjöström
Written by Screenplay:
Starring Victor Sjöström
Cinematography Gustaf Bode
2 February 1920
Language Silent with Swedish intertitles
Karin Daughter of Ingmar (Swedish: Karin Ingmarsdotter) is a 1920 Swedish silent drama film directed by Victor Sjöström. It is the second part in Sjöström's large-scale adaption of Selma Lagerlöf's novel Jerusalem, following Sons of Ingmar from the year before, and depicting chapter three and four from the novel. The critical reception was, however, unenthusiastic, and Sjöström decided to not direct any more parts. Eventually the suite was finished by Gustaf Molander in 1926.
Karin Daughter of Ingmar (Swedish: Karin Ingmarsdotter) is a 1920 Swedish silent drama film directed by Victor Sjöström. It is the second part in Sjöström’s large-scale adaption of Selma Lagerlöf’s novel Jerusalem, following Sons of Ingmar from the year before, and depicting chapter three and four from the novel. The critical reception was however unenthusiastic and Sjöström decided to not direct any more parts. Eventually the suite was finished by Gustaf Molander in 1926.
Following the Ingmarssönerna [Sons of Ingmar] (1919) comes another Selma Lagerlöf story in the series interpreted by Victor Sjöström - Karin Ingmarsdotter [Karin Daughter of Ingmar] (1920). Again it's a complicated love affair that takes center stage. However I did not think this was as good as Ingmarssönerna. Has some class moments with the half-brother, but the rest of the acting wasn't nearly as good as in the 1919 movie, and therefore the longing that's supposed to carry the story doesn't accelerate.
Lagerlof’s story is pure old-fashioned melodrama, rife with familial tensions and unrequited love, though the film version has certainly been enhanced by Sjöström’s artistic production. Produced through the Swedish company Biograph AB, this second installment displays a new maturity for Sjöström in the presentation of landscape shots, period costumes, and performances which feel more naturalistic than in the popular first film. Not the most accessible of his silent productions, since Sjöström really began to blossom as a filmmaker with The Phantom Carriage and his Hollywood dramas, his chronicle of the old-fashioned Ingmar family remains fascinating and further indicates why its creator was heralded as a pioneer of the Swedish film industry.
Best remembered as the old man of Bergman’s Wild Strawberries, which indicates how much subsequent generations thought of his work, Victor Sjöström began his career as an actor when motion pictures were still an oddity in Sweden; here he reprises his role as Ingmar, the ill-fated patriarch whose spirit continues to haunt and demand virtue from his family. Tora Teje, who would also appear in Haxan two years later, is lovely if a bit too stiff as the put upon daughter Karin, with Tor Weijden as her spurned suitor and Bertil Malmstedt as her frail younger brother.
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