Patriarch Ingmar lives on a rural property, surrounded by his children and servants. He no longer has the company of his wife: she has died. To Ingmar, this is the time to rethink all of an existence. Meanwhile, his daughter Karin is in the throes of a dilemma. She is in love with one man, but convenience would suggest marriage to another. Above all of the drama, there prevails a sense of community among the countryfolk, imbued with a deep sense of continuity to life over generations. In this film, there is a scene of a clock with no hands, a symbol of death, to be taken up once more by Ingmar Bergman in his film Wild Strawberries (1957), with the main role played by Victor Sjöström himself. Bergman thus paid tribute twice over to the film maker he regarded as his master. —Mostra
Born in Silbodal, Sweden, in 1879. The son of a lumberjack, he emigrated with his parents to the U.S. when he was only one year old. The Sjöström family prospered in the district of Brooklyn where Victor lived until the age of seven. In his teens, he was beset with problems related to his father who had become a religious fanatic. With the death of his mother, in 1887, the boy decided to return once more to Sweden. He joined the world of theater, a profession he was not to abandon throughout all of his life, even when he became a film director. Sjöström’s only appearance on the screen to reach Brazil was his performance in the role of Isak Borg, a main character in Ingmar Bergman’s film Wild Strawberries (1957) – and was his last piece of acting for cinema. Sjöström also acted the role of an orchestra conductor in Till Glädje/ The Joy (1950), with Bergman as director. Sjöström directed 53 films – all of them silent movies, except for the last two (The Markurells of Wadköping, 1931… read more
A look at a rare auction of Stenberg brothers posters of the 1920s.