User reviews

Together with Stroheim and Murnau, Mauritz Stiller is one of the great directors in cinema history who solely directed silent films during his whole career. Even though the majority of his work has been lost forever, some titles have survived: Herr Arnes Pengar (1919), Sangen Om Dem Eldröda Blomman (1919), "Erotikon" (1920) and "Gunnar Hedes Saga" (1923). These famous films are enough to confirm that Mauritz Stiller has been and are one of the best directors of the seventh art through its long history. He has been able to elevate the "silent art" to that great level that we can still now enjoy and appreciate.

One important turn in his work was his last movie made in Sweden: "Gösta Berlings Saga". This film had disastrous consequences for his career, as this Germanic count will narrate later on.

Stiller, together with Victor Sjöström, were the "father founders" of the Swedish cinema. Together with Sjöström, he is the most famous film director of the 20's. This notoriety was not only in his country because his film "Sangen On Den Eldröda Blomman"(1918) made him world famous, a status confirmed definitively with that masterpiece "Herr Arnes Pengar" (1919).

It is very difficult to write about Stiller, even in Germanic, because it is not easy to find all the adjectives to define his great career; his work had the beauty of a great stylist able to make master pieces in such different genres as "saga" (those great stories of the Swedish literature) or that most sophisticated comedy ("Erotikon" (1920) ). He was a director who had a big influence, even on German directors as Herr Lubitsch who was then defining his unmistakable "touch".

The legend of Gösta Berling is related to the "epic" part of his work. There are big stories replete with character with different backgrounds in several situations that the Nordic director manages very well.

The film is an adaptation of a book written by the famous Swedish author Selma Lagerloff, who by the way, had many disagreements with Stiller's adaptation (ah…., the eternal "auteur" ego problems, almost as classic among the aristocrats'!). Changes were made due to Stiller's lack of respect for the text, who changed it according to the necessity of the film, more specifically, according to the "visual needs" of it. As this Germanic count mentioned before, Stiller is a great stylist, always looking for visual beauty (although it is important to mention that he does not look for hollow images or simple postcards). His interest is very different. In a way, he is delighted on the aesthetics of certain scenarios to show us the most miserable side, the squalor of the whole surroundings.

In spite of those stylistics disagreements between author and director, this Teutonic count asserts that the cinematographic adaptation is excellent. Keeping in mind the fact that it is a very dense and complicated novel, filled with characters.

The Leyend of Gösta Berling tells us the story of Gösta, a drunkard minister who is expelled from the priesthood for his "habit" (weird Nordic tradition, those expellings…). But the bigger problem with his parish is his truthfulness. Jobless, Gösta finishes in Värmland, a state managed by the people of Ekeby.

Gösta's strong personality and his special charm with women will bring him many problems. Two powerful families full of hypocrisy, lies and adultery; rule two estates in Värmland and they will surround Gösta with plenty of intrigue, confusing him and costing him a lot of problems to which he was a stranger to begin with.

Only at the end of the movie, will our hero will get his redemption from the hand of Elisabeth, performed by the fascinating Greta Garbo.

It has to be mentioned that for many long-haired, Stiller is still "only" known as the finder and creator of the divine Greta Garbo; which it is true because thanks to Stiller, Ms Garbo got her first great film performance due to her appearance in this movie. This is a great injustice because reduces Stiller's creations to a second place.

It is compulsory to praise all the actor's great interpretations in this movie. They were really memorable, not forced at all if we take into consideration that around that time it was something very difficult to obtain with certain adaptations or argumentative plots that tended to excesses. It is a movie where also big natural spaces predominate, another of recurrent theme of Stiller. This movie combines the beauty of the frozen landscapes with the danger in them.

As this Germanic count said before, the success that "The legend of Gösta Berling" brought to Stiller and Ms Garbo had a different repercussion in their future careers: for her, the beginning of a mythic career, a cinematographic icon that prevails and still impresses us. For him, the beginning of the end as a director when he started a new phase in the United States that lasted for four unhappy years.

Watching the formal and stylist beauty of "The legend of Gösta Berling", one realises, even the oblivious Germanic aristocracy, the great loss for the cinema that occurred with Stiller's premature death. He was a fundamental director for both the Nordic and global cinema. His great work has been timeless.

And now, if you allow me, I have to leave you momentarily because this Germanic count has an appointment with a Swedish sweetie.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

Gösta Berling is a young and attractive minister. Because he is an alcoholic and his preaches are far too daring, he is finally defrocked. He leaves the town in disgrace and arrives at countess Marta's manor. His new job there is to be a tutor to countess' beautiful stepdaughter.

In 2006, the film was released for the first time on DVD by Kino International with the support of the Swedish Film Institute. The new release includes English subtitles, the new music score by Matti Bye, and restoration of the film to a length of 185 minutes. While it is somewhat imposing in length, it really is the only way to see it.

Garbo is a larger than life figure. She has achieved immortality, due in part to roles like this. Though not everyone can name a movie she is in, almost everyone has heard of her. That in itself is quite a feat, considering the great actors of the time who are now forgotten except by the biggest movie nerds.

I have to change my previous review as I have watched the true version with a pretty darn good soundtrack that Kino released onto DVD and about time too. All I can say is that if you have seen the atrocious VHS version then do yourself a big favour and buy this one, there is simply no comparison, if you haven't seen the VHS version, well, do yourself a favour and get the DVD anyway. Garbo is very young in this and quite unrecognisable, but, she is very good as Elisabeth. You can see why Lars Hanson was later hand picked by Lillian Gish to star with her in "The Scarlet Letter" and "The Wind" and hopefully this will increase his fanbase. And you're left wondering why director Mauritz Stiller never became the success that another Swedish director Victor Sjostrom was.

Greta Gustafsson grew up in an environment that offered scant hope for a little girl who loved to act. Youngest of three children, Greta remembers living in a small Stockholm, Sweden apartment where in the evenings after work "my father would be sitting in a corner, scribbling figures on a newspaper. On the other side of the room, my mother is repairing ragged old clothes, sighing." She claimed there was always tension in the air, making life for the sensitive girl not very pleasant.

Later, as an 18-year-older, her acting ambitions were slowly realized. Greta was able to get her foot in the door primarily because she possessed a pretty face. Gustafsson appeared in several print advertisements before she popped up in a brief filmed scene while attending the Royal Dramatic Training Academy in Stockholm from 1922 to 1924. Director Mauritz Stiller, famous for his cutting-edge 1919 'Sir Arne's Treasure' and 1920 'Erotikon,' spotted Greta and signed her to play a part in his March 1924 "The Saga of Gosta Berling."

It was this movie that Louis B. Mayer, who had just merged his production studio with Metro and Goldwyn's Pictures to create MGM Studios, was in Germany looking for new talent. Swedish director Victor Sjostrom, recently hired by Mayer, recommended he see the work of his friend Stiller. There's differing accounts on what happened when the film producer saw "The Saga of Gosta Berling," but Myer's daughter recounts him saying upon seeing Gustafsson, "This director is wonderful, but what we really ought to look at is the girl ... The girl, look at the girl! It's her eyes. I can make her a star."

Gustafsson eventually went to Hollywood, where she was given a new name. Studio executives kept the Greta, but her last name became Garbo. The Swedish actress would become the fifth greatest actress in cinema, according to the American Film Institute. Not bad for a girl who never attended high school, which was par for the course for working class Swedish school girls, something that for the rest of her life Garbo claimed gave her an inferiority complex.

"The Saga of Goat Berling" has been tabbed the Swedish version of America's epic "Gone With The Wind" for the breath and scope of its plot. Gleaned from Selma Lagerlof's 1891 novel, the movie's about a Lutheran minister who's fired by church elders for his drinking habits as well as for his controversial sermons. Gosta Berling receives a job offer to become a tutor to a countess' daughter, Ebba. The countess hopes her new tutor will marry his pupil before her son, Henrik, whom she despises, gets the countess' inheritance. Henrik soon returns from Italy with his supposed new wife, Elizabeth (Greta). Towards the end of the movie, which is chock full of flashbacks and intrigue from a number of participants, Elizabeth sours on Henrik, but not before she's in an exciting chase on a horse-drawn sled with Berling trying to outrun a pack of hungry wolves on a frozen lake.

It had been noted that since she was so new in front of the camera Greta needed a good dose of champagne before her big scenes. Most of "The Saga of Gosta Berling" production was without her. But her first appearance, 40 minutes into the three-hour plus film, and a reappearance in the last 15 minutes, changed forever the girl who grew up in relative poverty in a Stockholm slum.

"The Saga of Gosta Berling" pretty much marked the end of 'The Golden Age of Swedish Silent Cinema." With highly-regarded Sjostrom already in Hollywood and Stiller with Greta and actor Lars Hanson, who played Berling, soon departing for California, the leaders of Sweden's film industry were gone. With the exception of Garbo, the rest of Sweden's superstar directors had only a modest success in the states, unlike in their native country.

Decent but overlong (3+ hours), overblown (*cries*) and over-the-top melodrama even compared to most silent drama; I've never been a huge Garbo fan (she had zero subtlety, which suits a silent actor) and she is right at home here considering everyone else is just as GRAHND *throws arms out*. There's drunk preachers, big speeches, fires, redemption, death, love, everything you would expect from these types of film, in overabundance. The Saga of Gosta Berling's print is remarkably cleaned up, I just wish the film they had put so much work into was better.

{Grade: 6.25/10 (high C+) / #6 (of 6) of 1924}

"Gösta Berlings saga" is the debut film of Greta Garbo. It was directed by Mauritz Stiller. Together with Victor Sjöström, Stiller was the leading director of the first Scandinavian wave. Stiller and Garbo went together to Hollywood. Garbo succeeded were Stiller failed. The relationship between Garbo and Stiller can be seen as the extreme version of the relationship between Marlene Dietrich and Josef von Sternberg from the same time period.

The question with debut-films of actresses that later became great film diva's is if the film is well known because of his intrinsic quality's or because of the upcoming star in it (that not necessarily has the leading role yet, as is the case in "Gösta Berlngs saga")?

"Gösta Berlings saga" is based on a novel by Selma Lagerlöf, a winner of the Nobel prize in literature. So one is inclined to assume that the film must have intrinsic quality's. Unfortunately a good story does not necessarily mean a good film and to be honest, this movie is not a great one.

Although the film as a whole is not a masterpiece, there are some mesmerising scenes. I am thinking about the scene with the fire in house Ekeby and the scene with the persuit by wolves on the frozen lake.

Also the method of introducing the cast is worth mentioning. Not as a title roll at the beginning or the end of the film, but piece by piece when an actor or actress makes his/her first appearance. From a viewpoint of remembring the characters there is a lot to be said for this method. In all honesty what information conveys a title roll at the beginning of the movie?

The golden age of Swedish cinema (1913-1924) and the rapid growth in Svensk Filmindustrie were influenced by the works of two directors still remembered among many movie buffs today: Victor Sjostrom and Mauritz Stiller. They made a primary contribution to early films' style and, more importantly, their careers spread to Hollywood in the first half of the 1920s. Most importantly, both of them based some of their works on the source novels by Selma Lagerlof, a Nobel Prize Winner, an eminent figure in the Sweden of the early 20th century, a muse of Swedish silent cinema. However, the directors' results from the cooperation with the eminent author were quite opposing.

While Sjostrom, as a typical diligent Swede, won Lagerlof's heart (his timeless THE PHANTOM CARRIAGE), Stiller was not so successful being nearly 'persona non grata' due to his 'liberal attitude' towards the source materials (he tried to interpret it rather than film it). Even the adaptation of her GUNNAR HEDE'S SAGA did not meet with the author's enthusiasm. Therefore, the task to film GOSTA BERLINGS SAGA occurred a hard venture because Stiller had an investigating approach, his directorial attempts were loose, he changed some parts of the storyline, some characters for the sake of the new phenomenon that cinema was. That is the very basic fact about his GOSTA BERLINGS SAGA. Consequently...the strong points of the movie do not, indeed, lie in the faithfulness to the novel but elsewhere...

At first, it is important to note that for many years the film has been viewed on weak copies, which resulted in serious shortcomings within critical reviews. The new formidably restored Kino version (which I had pleasure to see during its premiere on Polish TV on two consecutive frosty evenings) with the lovely musical score recaptures its potential and makes this silent film not only 'endurable' but overwhelming and unforgettable. No doubt many reviewers find the restored version much more appealing. But where does the film's popularity lie?

For many, the film is remembered merely as Stiller's radiant discovery: Greta Gustafsson later known to the world as Greta Garbo. And, as a Garbo fan, I admit that knowing Greta Garbo's films without seeing GOSTA BERLINGS SAGA equals to having an apple tree in the garden and not tasting its apples. It is a must to see Garbo in this role of Elizabeth Dohna: a young, still inexperienced newcomer under the constant dominance of her tutor Mauritz Stiller from the time when, as some of her biographers say, in order to shape her, it was enough for the director to look into her eyes... Yes, Stiller noticed something unique in her and brought it out, to the light of camera. And there are some lovely scenes that capture her radiance, including the first close-up in the sleigh sequence, Garbo picking flowers in the garden and walking downstairs in shadowy interiors. However, the specific feature of the movie is its episodic structure and, what results from it, its numerous characters. In that way, saying that the film is worth seeing due to Garbo would be an unforgivably limited view. The film is a lovely representation of various characters and their lives in the 19th century Sweden. Those truly unique performances are handled by Lars Hanson and, above all, GERDA LUNDEQUIST!

Lars Hanson, a mainstay in Stiller's movies before leaving for Hollywood, gives a captivating performance here as a 'defrocked man of God' depicting his character's frustration, guilt, even curse and constant search for redemption. His wandering from the priest through a tutor, then one of the cavalier fellows to the owner of new Ekeby is filled with breathtaking moments. Women he loves disappear, things he owns gradually decline and nothing seems to be left at certain moments. However, a truly haunting part is portrayed by Sweden's Sarah Bernhardt - Gerda Lundequist as Margaretha Samzelius, the 'Majorskan.' With lots of flashbacks, the vibrant and subtle interpretation of her character leaves a viewer stunned. Perhaps the most memorable factor of her plot is the mother-daughter relation and her mother's curse she strives to get cleaned. Characters have much in common with one another (this aspect of the family relations is also developed in Marianne Sinclair's plot). Among the supporting cast, Karin Swanstrom as Gustave Sinclair and Ellen Hartman-Cederstrom as Martha Dohna are worth noticing, particularly due to the striking features of different female characters.

But what primarily makes GOSTA BERLINGS SAGA a captivating experience are its visuals. Great credit to the terrific cinematographer Julius Jaenzon. The picturesque depiction of Swedish climate and its idyllic landscape (many scenes depict the peaceful images of snow), the artistic use of light and shadow in the interior shots, the elaborate sets and bizarre wardrobe make many scenes real feast for the eyes. Top notch art direction by Vilhelm Bryde! Mind you that clothes are the undertone of characters' features (Martha Dohna with her peacock's dresses and weird hairstyle). The most memorable scenes of the film include the fire at the Ekeby Mansion (in particular Gosta saving the life of Marianne Sinclair), the famous Elizabeth/Gosta's sleigh scene on frozen Lake Lofven (consider the wolves and the formidable final shot of this sequence), Margaret Celsing approaching the house of her mother, Marianne Sinclair knocking at the door of her home, Gosta and his sermon, the banquet at Ekeby and the unforgettable finale at Broby Inn and new Ekeby.

The only flaw that does not allow the film be labeled as 'masterpiece' is its continuity caused by editing and shortening of scenes.

Much more could be said about 'Sweden's GONE WITH THE WIND.' It was a great surprise for me to see it in its restored version with the voice over that helped me follow the plots. A highly riveting silent movie, not merely for Greta Garbo fans. Intensely beautiful symphony of cinema with visual splendor! 9/10

One of the big things this has going for it is 18-year-old Greta Garbo; this was the film that got her noticed and brought to Hollywood the following year ... so if you're a big Garbo fan, this is probably must-see.

The title character is interesting, though the performance from Lars Hanson is too simple, and doesn't adequately convey the passion of a defrocked preacher who has several women fall for him (Mona Mårtenson, Jenny Hasselquist, and Garbo). Better is the performance we get from Gerda Lundequist, who plays a middle-aged married woman with a thinly veiled secret from her past, an old lover who bequeathed her wealth when he passed away.

There is a theme of the consequences to bad decisions in love that runs through these characters, some of which seem crazy (Hasselquist's father locking her out in winter over a single kiss), and others of which are age-old problems (Garbo's marriage to another man despite not loving him, and Lundequist's situation of having a lover and a husband). The women of the film seem to bear the brunt in unfair ways, and there may a feminist message in showing this (or it could be I'm just projecting that, I don't know).

There are some epic scenes which are impressive on the screen, including one with a horse-drawn sleigh running across the ice at night while pursued by wolves, and another with an impressive fire when a mansion is burned down, even though neither seem to make all that much sense.

And unfortunately that's at the heart of the issue I had with the film - it rambles on in exaggerated ways, lacking cohesive vision, and is at times ridiculously melodramatic. It's also far too long at over 3 hours, making it quite a slog to get through.

Three hours + and this movie had me on the edge of my seat till the last picture .Fans of Greta Garbo might be disappointed for her role is not very important in the first part of the saga.

Selma Lägerlof's " Gösta Berling" reminds me of Thomas Hardy's "Jude" and "Tess" .Like them ,he is more a victim than a "defrocked " minister. The structure of the movie is stunning including long flashbacks and flashbacks inside the flashback ,and so many characters it is sometimes hard to remember who is who.But this extravagant melodrama features so many memorable scenes it's impossible to mention all of them:

-Berling in his church,in his pulpit ,in front of the clergy .

-The "Devil" ,some kind of jack-in-the-box ,claiming another soul among the "outcasts"

-The big fire,filmed with a stunning virtuosity

-Gösta and Elizabeth,in their sleigh,escaping from a world they are not part of ,one of the most frenzied romantic scene I have ever seen.

"Gösta Berling" takes us to the decadent aristocratic world of the nineteenth century and depicts its deterioration.It is one of these rare silent movies which can still grab today's audience.

The Saga of Gosta Berling is without a doubt one of the most beautiful and haunting films I have ever seen in my life. I was lucky enough to only see the improved Kino version, however. Trust me, if you long to see this incredible film, please just save up and buy the elegant Kino version. You won't be sorry you did! No other cheaper version will capture the story and it's just not worth it...

The film is long (three hours) but every second is precious. Perhaps it could have been cut shorter to make the plot more simple but who would want that? Hopefully I'm not the only one but when the words "The End" come across the screen my heart aches and I truly want more. Despite how long the film is, many elements from the book by Selma Lagerlöf had to be cut out in order to avoid a ten-hour-long drama. Be sure to hunt down a copy of the story and read it for yourself. Each and every character is so complex and interesting and every chapter is like a moving short story.

The acting is absolutely superb. Hanson and Garbo have such amazing chemistry that you literally feel as if you'll melt when they simply stare at each other with their expressive, longing eyes. Besides the two main stars, everyone gives great performances, besides Torsten Hammarén. He seemed to have the same annoying facial expression the whole time. Maybe that's just the way his character was suppose to be (Henrik Dohna) but I doubt it, since I recall his character in Erotikon (1920) having that same, stupid look.

The main reason I encourage everyone to see the Kino version is for the soundtrack. The soundtrack for the Kino version of The Saga of Gosta Berling is soaring, gorgeous, and completely wonderful. It's the greatest soundtrack I have ever heard for a silent film. I literally get goosebumps on my arms when I feel the melodies run through me. Matti Bye has created a score that fits the story so perfectly that it's unbelievable.

Everything and everyone in this film is stunning visually. We get to see many shots of the magical country of Värmland and its ravishing scenery. Many lovely actors and actresses were chosen and they absolutely glow with beauty. Lars Hanson and Greta Garbo are both hauntingly beautiful, along with the actress Mona Mårtenson, who plays Ebba Dohna.

Honestly, I can't come up with anything to say except, please watch this film and read the book too. The story will never leave you.

The main plot involves defrocked priest Lars Hanson coming to an old bag's estate to tutor the daughter. Scheming mom wants daughter to fall in love and marry Hanson and forego her inheritance. You see, scheming mom wants the inheritence to go to her wiffleball-spined son.

Simple, right?

Well, this is Swedish film-making. So we get a half-hour prologue. Part 1 of the prologue is a drunken scene on Christmas Day where Satan makes an appearance. Part 2 of the prologue is a flashback to Hanson's waning days as a priest before he got the boot.

This prologue could have been accomplished in five minutes, not 30.

The acting is very much like the cliched silent-era emoting and staring off into the middle distance.

I'll be honest, I got so bored that I started FFW to get to the Garbo parts. She shows up at roughly the 45 minute mark at a grand soiree. Let's just say she's lucky they emphasize cosmetic dentistry in the United States.

Nothing more than a curiosity piece for h3rdcore Garbo fans.

Like most silent film fans I had endured the bad, dupey, chopped-up 90m version of this film on VHS and wondered why it has such a famous reputation. Thank goodness for KINO & the Swedish Film Institute for finally making this 184m version available in a beautiful print with a complimentary musical score. This film reminds me of a silent version of WAR & PEACE meets GONE WITH THE WIND in its size and scope with elements of Shakespeare-like plot twists. An alternative title actually sets up the story better, "The Atonement of Gosta Berling." SPOILERS: The narrative opens during a drunken party where the star, Lars Hanson (best known as Lillian Gish's costar in THE WIND, 1928), is sharing the story of his downfall with his friends. In flashback, we see Gosta (Hanson) as an unsure priest with a drinking problem being defrocked in an embarrassing public scene. Shamed, he is later hired by an unscrupulous and wealthy woman to be a tutor to her step-daughter. Secretly the "Noble" woman hopes the two will marry and thus revoke the step-daughter's right to inherit her father's estate by hooking up with the commoner, making the way clear for her foppish son to earn the inheritance. There is another grand dame in our plot at the nearby Ekeby estate, run by the head-strong matron Margaretha Samzelius (Gerda Lundequist) in a larger-than-life performance that reminded me of Louise Dresser in THE SCARLET EMPRESS. She takes in outcasts and calls them her "Knights," inspiring respect from almost all who know her. I loved the way she commands attention, but when she is broken and has to ask her mother to remove a curse put upon her in her youth, the rebuke she gets breaks your heart. Nearly one third of the way through the story, we are introduced to a very young Greta Garbo. Her role starts out small but becomes very important in the ending resolution. Filled with wonderful, nuanced performances by all the actors in the diverse and large cast. Amazingly, there are many on-location outdoor shots and outstanding scenes including an out-of-control fire that destroys a huge estate (reminding me of a similar incident in Hitchcock's REBECCA) and a long chase scene of a horse-drawn sleigh by wolves across a huge frozen lake, filmed at night that must be seen to be believed! Now that this grand epic has finally been released as it was meant to be seen, it will be re-discovered by silent film fans around the globe as they share this masterpiece with their friends. To sum it up, this is the film I have been waiting for to give film preservation its annual shot-in-the arm! Two years ago it was the uncensored BABY FACE; last year the lost film KIKI (Norma Talmadge version) was finally restored, and for 2006 it will be "The Atonement of Gosta Berling."

Mauritz Stiller's amazing film The Saga of Gosta Berling is proof to me of just what an edge the European filmmakers had on the Americans. The cinematography here is often breathtaking. The pacing never flags, and when you're talking about a 180 minute film, that's no small feat. The Kino version I watched, which was the recent restoration by the Swedish Film Archive, also featured a beautifully done soundtrack, something I find that makes such a huge difference -- some of the recent restorations I've watched have featured soundtracks that sound way too contemporary, and I just find that annoying and distracting. Not so here.

But the biggest thing I noticed on my second go-round with this beautiful film was the emotional realism that so many of these wonderful actors brought to their characters. They make mistakes, they regret. They love, they hate, they envy. They are real, believable people, something that wasn't always happening in American films of 1924. Garbo, at this early stage in her career, is already showing star quality. And the now largely -forgotten Lars Hanson is handsome and riveting. Don't let the length deter you from watching this fine and beautiful film.

Countless are those films I've watched of every variety, and strangely, I don't recall ever before having difficulty with aspects of a film's narrative as I did here. Part of it is the structure, for the plot in these three hours is imparted to no small degree through flashbacks within flashbacks. Just as much to the point, especially in the first half, characters and story threads are introduced left and right without immediate connection to each other; furthermore, just as with much more recent titles like Tim Blake Nelson's 'Anesthesia' or Paul Haggis' 'Crash,' all these ideas rise and recede in the storytelling until they gradually converge around some manner of focus. And yet it's not just about the structure, for each facet of the plot revolves in its own way around a confluence of (a) Wealth, Society, Propriety, and Class; (b) people being roundly awful to one another, largely through the hypocrisy of heavily emphasizing others' flaws while hiding their own, and generally without ever getting called out on it; and (c) the absolute devaluation of women except as property, and wives wholly subject to the whims of men - more than still remains infuriatingly true in 2024. Never before, to the best of my recollection, have I ever watched another film in which the expression of deeply antiquated and therefore regressive values made it difficult for me to any extent to grasp the tale on hand, but even I have found parts of 'The saga of Gösta Berling' hard to parse.

Granted, these are not specifically flaws. They aren't flaws at all, in fact, and seeing as how, among many thousands of other flicks I've enjoyed, this is the first time such matters have struck me, I think the incidence here is pure happenstance. In the same way that one person might touch two blankets made through the same process, and with the same material, but find one more comfortable than the other, I'm inclined to believe there's simply some intangible quality about this 1924 classic that just puts it on a different wavelength from me. I'm sure of it, in fact, because beyond such splitting of hairs, this epic drama is altogether outstanding. After a fashion I'm reminded of Sergei Eisenstein's 'Ivan the Terrible,' where in my opinion the storytelling was distinctly more sure-footed in the second part. Indeed, should one have taken any issue with the narrative structure in Part I of 'Gösta Berling,' all the characters and threads are drawn together within Part II as events come to a head. Scrutinize the particulars as we may, the sum total is dreary, and often tragic, but ultimately strongly absorbing, compelling, and satisfying. Dark as the saga gets at various points there is just enough of a sense of dynamics to keep the proceedings fresh, and at select times, meaningful airs of tension and suspense help propel the drama. Working from Selma Lagerlöf's novel, scribe Ragnar Hyltén-Cavallius and filmmaker Mauritz Stiller give us gratifyingly complex characters and incredibly robust scene writing, and at length the many strengths of the picture handily outweigh any subjective weaknesses.

Those strengths further include gorgeous sets and beautiful filming locations, and costume design, hair, and makeup that are truly just as lovely and carefully considered. Where stunts and effects are employed, notably with major sequences in the second half, they are genuinely impressive and surely bring to mind various points of comparison from one viewer to the next. While the contribution of esteemed cinematographer Julius Jaenzon doesn't always specifically stand out in this instance, there are plentiful moments where his keen eye really does provide smart, superb vision that lends considerably to the tableau. It also must surely be said that the cast is terrific, all doing their part in turn to bring the dour drama to bear with admirable nuance and emotional depth. Lars Hanson obviously stands out most as the titular figure, and Greta Garbo both for her growing fame and for her prominent supporting part, but at one time or another every actor herein has their time to shine. Among others, I'm especially pleased with the tent pole performance of Gerda Lundequist as Margaretha; it's a part of importance arguably second only to Hanson's, and furthermore a part that requires significant range, and Lundequist navigates it with grace and ease. Really, unless one has some inexplicable hang-up about this or that, as I did at the outset, there is no abject trouble with 'The saga of Gösta Berling' in any manner, and it's a superb, engrossing classic. Case in point, as composer Matti Bye provided a new score for the commonly available restoration of more recent years, it's worth observing just how fantastic that score is. Some portions of the music are more noteworthy than others, but one way or another Bye very ably complements the mood at any given time, and at its best his work is outright marvelous in how it bolsters the narrative.

When you get down to it I don't think there's any disputing the overall worth of this feature, and any variation in our reaction to it is one strictly of personal preference or perception. Maybe with a second viewing all my initial misgivings would evaporate; it wouldn't be the first time that has happened. Regardless, when all is said and done this movie remains an upstanding treasure even after so many decades, and anyone who appreciates older cinema would be remiss not to check it out given the opportunity. Marked by excellent writing, direction, acting, and craftsmanship, it's only our own perspectives as viewers that might in any way take away from everything that 'The saga of Gösta Berling' is, and I'm pleased to give it my solid recommendation. The runtime may be prohibitive, but if you're receptive to the silent era, carving out some time for this is well worth it.

I enjoyed the emotionalism of this film. The main character is quite striking in a rather terrifying way. He looks ghoulish at time with the heavy makeup and the emoting. We are told immediately that he is a minister whose drunkenness gets him expelled from the church. He is miserable throughout the movie and he acts this out. There is a bit of subterfuge at work that prevents his wishes from being realized, but his overt depression (because of the silent movie methods) weighed on me. I think two hours would have been more than enough. How could any guy be filled with so much angst for so long. Anyway, I thought it was an interesting example of filmmaking in 1924.

THE SAGA OF GOSTA BERLING has been available for many years but never like this. Previous versions were cut-rate low budget affairs that were missing over half the film's running time and were often presented without any kind of musical accompaniment. European silent films in particular have suffered in the U. S. where, because of the limited appeal and general unavailability of the material, any version was better than no version. While this is true to a certain extent it is also true that a great deal of harm was done as it gave most people the wrong impression of many of these silent classics by making them appear crude and primitive. Over the last decade that misconception is being corrected as quality releases from companies like Kino and Milestone Films help to rectify the situation. Movies like METROPOLIS and NOSFERATU, to cite two well known titles, can be seen more or less the way they were intended. Such is now the case with GOSTA BERLING which turns out to be a monumental epic on par with films like BIRTH OF A NATION and NAPOLEON.

The storyline, as has been noted before, is like a Swedish version of PRIDE AND PREJUDICE. Contrary to the way the film is advertised, it is not a vehicle for Greta Garbo. Her part is important and it got her noticed but she is only one of several characters who inhabit this large scale canvas. At 184 minutes GOSTA is very long and at times hard to follow because of the numerous storylines but if you stick with it you'll find yourself inevitably drawn in and the last third of the film is a powerful emotional ride that is almost impossible to turn away from. Bravos to the Swedish Film Institute for the restoration work which is truly remarkable and to Kino for making this masterwork available the way it was meant to be seen.

Special mention should be made of the outstanding new score by Matti Bye that accompanies the film. It enhances the various moods of the many characters and keeps you drawn to the story as it unfolds. Sweden was one of the major players during the silent era and GOSTA BERLING would mark the zenith of Swedish cinema for nearly 30 years as most of the talent involved with the film would migrate to Hollywood where superstardom awaited Garbo, several good parts awaited Lars Hanson, and the end of his career awaited director Mauritz Stiller who would die in 1928 after returning to Sweden. This is part of a three film tribute along with SIR ARNE'S TREASURE and the romantic comedy EROTIKON devoted to the great but forgotten Swedish director. It's a must have for any silent film aficionado or for anyone who loves an epic romance. Think of it as a silent film treatment of GONE WITH THE WIND or DOCTOR ZHIVAGO...For more reviews visit The Capsule Critic.