Skip to main content

Brudeferden i Hardanger (The Bridal Party in Hardanger)

Director: Rasmus Breistein
Year: 1926
Run time: 1 hr 44 min
Source: Bootleg DVD

This Norwegian film was inspired by a famous painting of the same name, a beautiful fjord with two traditional wedding boats carrying a bride and groom.


Even if the film did nothing besides recreating this scene, it would be an evocative testament to the beauty of Norway.  But there's a great melodrama that takes place around the titular procession, one of the sweetest and saddest romances on the list so far.  These great fjords are somehow the perfect setting for telling an epic tale of romantic betrayal that spans decades.  (This is a film category that needs a Wikipedia page - the only other great fjord movie that comes to my mind is the 2015 catastrophe film, The Wave, which also uses its setting to great effect.)

I don't have too much else to say about this (I did like the film a great deal), except to remark that Norway has been on my mind a lot lately, since I'm heavily invested in Knausgaard's great six-volume memoir.  It is a place I would very much like to visit soon, and though cinematic tourism is not the most satisfying, I found this movie did justice to its country, and I'm hoping that we get a fair number of Norwegian films in this list.



Comments

Popular posts from this blog

Fétiche Mascotte (The Mascot)

Director: Ladislas Starevich Year: 1933 Run-time: 26 min Source: Youtube Notable For : The second animated short on the list from 1933 is this stop-motion piece from the Polish-Russian film-maker Ladislas Starevich.  Stop-motion is almost as old as cinema itself (Starevich had been innovating since 1912).  The craft here is as good as any modern film, and Starevich's twisted imagination is on full display, with dolls and household objects coming to life in a dark version of Toy Story.  For animation fans, it almost goes without saying that Starevich was an influence on Jan Svankmajer's work much later. Verdict :  Every frame is a bizarre delight. There didn't seem to be an overarching plan to this work (indeed, it's possible that The Mascot  is an amalgamation of several shorter films featuring the same dog character), and so the film veers from one strange scene to the next, with much of the second half taking place in some kind of tchotchke hell governe...

A Trip to the Moon

Director: Georges Méliès Year: 1902 Seeing the painstakingly restored hand-colored print of A Trip to the Moon, in a literally mind-numbing 14 frames per second, makes it utterly clear that cinema is and has always been witchcraft. Every frame of this short feels bursting with magic, and even watching it on a modern TV in a space age that would have blown the mind of any of the actors of this film, you're left thinking "How did they do that?".

Paisan

Director: Roberto Rossellini Year: 1946 The greatest innovation in cinema around this period is the emergence of mainstream films that are anchored so specifically in contemporary life, that were deliberately not timeless. Rossellini went further than anyone else in this direction - Paisan  deliberately interweaves stock war footage with staged settings, real actors with non-professionals, to create something that deliberately skirts the line between fiction and documentary. Paisan  is also the first great bilingual film on the list, not only featuring English and Italian but many different dialects, making the film extremely difficult for a native Italian to understand. The performances are often extremely stilted, and there are glaring editing mistakes, but many of the stories are extremely compelling.