Balletdanserinden/Die Ballettanzerin

August Blom

T. It.: La Danzatrice; T. Ing.: The Ballet Dancer; Scen.: Alfred Kjerulf; F.: Alex Graatkjaer; Int.: Asta Nielsen (Camille Plavier, Ballerina), Valdemar Psilander (Paul Rich, Il Pitto­re), Johannes Poulsen (Jean Majol, Lo Scrittore), Valdemar Moeller (Simon, L’amministratore), Karen Poulsen (Sua Moglie); Prod.: Nordisk Film Kompagni; Pri. Pro.: 28 Ottobre 1911 35mm. L. Or.: 774 M. L.: 766 M. D.: 37′ A 16 F/S.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Typical of Nordisk dramas of the period, the film is shot almost entirely in deep focus, a technique which is especially useful at the party scene, where there is another use of a mirror to expand the playing space. While Camilla is shown performing, a mirror reflects Jean and Mrs. Simon kissing. This allows for two actions to take place simultaneously while keeping the main attention on Camilla and strengthening audience identification with her. The deep focus, combined with the use of the mirror, allows the scene to play and the character relationships to be drawn without interrupting the spatial and temporal reality of the shot. This avoidance of cutting, which is a general characteristic of Nordisk films, is by no means a stylistic trait left over from an earlier period, but rather a concern for mise- en-scène that has its roots in the theater. The theatrical effect is tempered, however, by devices like the mirror and the placement of the camera at an angle to the set, thus avoiding the frontality so common to earlier theatrically influenced films. In addition, the sets are solidly furnished and convincingly real.

Ron Mottram, The Danish Cinema before Dreyer, Metuchen, Scarecrow Press, NJ, 1998


Copy From

Printed in 1999