#victorsjostrom

[drcisko]

Ingmar Bergman - Wild Strawberries (Smultronstället) (1957) The second film by Bergman in 1957, after the Seventh Seal, and the second masterpiece of that year as well. Again Bergman explores questions of mortality, not so much the silence of god in this one but again how to face death. It's also the second film in a row where wild strawberries play a part as symbols of innocence and youth... The main character here is an old man, played by Phantom Carriage director Victor Sjöström, who decides to drive his car from Stockholm to Lund (some 600 km, I checked) with his daughter-in-law to get his honorary degree from the university as a celebration of his 50th anniversary as a doctor. As he takes this trip we get what is basically a roadtrip film, he picks up hitchhikers, reminisces on life and learns a lot about himself and those that surround him. It is basically a journey of redemption for a man who was probably too rigid in life and who learns to let go a bit. This is again a beautiful film, with superlative acting and a deep, bittersweet message. Again it is all these things being also constantly entertaining, jumping from flashbacks to dreams to real-life, with plenty of humor and reminiscences on life and death. The film focuses on three generations, one of the young hitchikers, that of the Doctor's son and daughter-in-law and that of the Doctor. In the end there is something that each learns with the others, and the Doctor who starts the film terrorized by the idea of dying ends the film with a smile of acceptance. (5/5) #cinema #cinephile #wildstrawberries #ingmarbergman #bergman #comedy #movie #moviereview #film #filmreviews #review #sweden #1950s #poster #filmposter #movieposter #swedishcinema #maxvonsydow #victorsjostrom Virus-free. www.avg.com (at Lisbon, Portugal) https://www.instagram.com/p/B172UlOldfY/?igshid=jaf01mfy7spa

[faithfamilyfilms]

The last person to die on New Year's Eve must drive death's carriage for the coming year and collect the souls of all those who die in that time, according to the legend in the 1921 Swedish silent classic 'The Phantom Carriage'. A Dickensian fantasy with horror overtones, The Phantom Carriage is Sweden's most significant entry in the canon of silent fantastic cinema which flourished around the globe in the 1920s. Composed of a compelling supernatural story, a moral message that would be revisited several more times in Hollywood films, and striking visual effects unlike anything else from the era, it's a still-striking masterpiece from director/actor Victor Sjöström, one of the major early figures in Swedish cinema (and future star of Ingmar Bergman's Wild Strawberries). Watch it tonight if you can....and for those who make it past midnight: Happy New Year. For the last one who doesn't.... good luck driving the carriage for 2019😉 . . . . . . #planoly #NewYearsEve #carriage #souls #1920s #Swedish #sweden #swedishcinema #silentfilm #ThePhantomCarriage #supernatural #VictorSjöström #Swedishcinema #IngmarBergman #WildStrawberries #HappyNewYear #filmsandfaith #filmlover #filmlovers #instafilm #instamovie #filmfan #moviebuff #cinema #filmstagram #moviestagram #2019 #Körkarlen #victorsjostrom (at Sweden) https://www.instagram.com/p/BsC76Z1n5-y/?utm_source=ig_tumblr_share&igshid=41riug7y8um2

[filmarchivistpov]

#hewhogetsslapped #lonchaney #victorsjostrom #filmarchivistpov #clowns

[lolableu]

In a retrospective of silent films, the Museum of Modern Art screened The Wind and included a review of the film in their program. They wrote, “What makes The Wind such an eloquent coda to its dying medium is Seastrom’s and Gish’s distillation of their art forms to the simplest, most elemental form: there are no frills. Seastrom was always at his best as a visual poet of natural forces impinging on human drama; in his films, natural forces convey drama and control human destiny. Gish, superficially fragile and innocent, could plumb the depths of her steely soul and find the will to prevail. The genius of both Seastrom and Gish comes to a climactic confluence in The Wind. Gish is Everywoman, subject to the most basic male brutality and yet freshly open to the possibility of romance. As a result, the film offers a quintessential cinematic moment of the rarest and most transcendentally pure art.”

The Wind (1928)

[mrjustinsane]

Today's second silent feature is 1921's THE PHANTOM CARRIAGE! Thanks to whomever uploaded it to YouTube! #thephantomcarriage #phantomcarriage #silentfilm #silentfilms #victorsjostrom #silenthorror