REVOLUTIONSBRYLLUP

August Blom

info_outline
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

 

The Danish film company Nordisk avoided costume pictures almost entirely from 1911, when they adopted the feature-length drama as their standard, until 1919. Revolutionsbryllup was one of the few exceptions. It was based on an internationally successful play by the author Sophus Michaëlis, which Nordisk had already adapted as a single-reel film in 1909 (now lost). Michaëlis proposed a feature-length remake, warning that Max Reinhardt was considering a German film version. Nordisk spent lavishly on the film, which had a budget three or four times that of a regular feature. They also put their biggest stars in it: Valdemar Psilander and Betty Nansen. Nansen (1873-1943), then the prima donna of the Danish theater, had played Alaine on stage in 1909, and Nordisk had big hopes for her as a screen star, but although she got a contract with Fox and made several films (all lost) in the United States in 1914-15, her film career was brief and disappointing.

The film has some nice sunlit exteriors, but it mostly takes place indoors. The expensive sets are sometimes subtly lit. The film is shot in relatively long, continuous shots with the camera set very far back; when, at the moment Alaine touches Marc-Arron, the film cuts in to a closer shot of the two (which still includes their upper legs), the effect is appropriately electrifying. The characters tend to face the camera, listening to people speaking beside or behind them while revealing their emotions to us. Combined with the formal poses struck by many of the actors, this gives the film a somewhat theatrical feel.

Casper Tyberg

Copy From