A man who is used to depending on his mother to solve his financial debts becomes involved with the daughter of a lender.A man who is used to depending on his mother to solve his financial debts becomes involved with the daughter of a lender.A man who is used to depending on his mother to solve his financial debts becomes involved with the daughter of a lender.
Clara Pontoppidan
- Anna Hansen
- (as Clara Wieth)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- ConnectionsEdited into Eventyret om dansk film 2: Kunsten og pengene - 1909-1913 (1996)
Featured review
Putting in Scene
As evidenced by this film, Danish filmmakers didn't always give much attention to a film's story. I was left with much to infer here. Valdemar Psilander, the major Danish star of the era beside Asta Nielsen, plays a son whose relationship with his mother suffers due to his playboy pursuits and resulting debts. He also becomes romantically involved with his lender's daughter. Anyhow, the story isn't so important, or interesting. Neither is Psilander, although he does seem natural compared to the theatrics of the actress playing his mother.
Of more interest is the attention to mise-en-scène instead of story, plot, editing or camera movement (none of which were very well developed at this time in film history anyway). Nordisk's production values are quite good for the time, which is to be expected, as they were a dominant film producing company then. For the most part, scenes are long takes--keeping cuts to a minimum. Director August Blom fills scenes with multiple, eye darting, actions, such as at the restaurant. That's from the theatre. More principle to cinema is the mirror motif and low-key lighting. The mirror in the room of several scenes between the mother and her son often serves to show off-screen action, so, for example, we see the son is entering the room before he appears in the shot beside his mother. This allows for less crosscutting. There is one scene with stark low-key lighting (which also features a mirror), a now prevalent film technique, which was probably first to be found prominently in Danish cinema. So, in, primarily, America, one can see the first important stages in dissecting a scene, while Danish filmmakers worked on putting in scene.
Of more interest is the attention to mise-en-scène instead of story, plot, editing or camera movement (none of which were very well developed at this time in film history anyway). Nordisk's production values are quite good for the time, which is to be expected, as they were a dominant film producing company then. For the most part, scenes are long takes--keeping cuts to a minimum. Director August Blom fills scenes with multiple, eye darting, actions, such as at the restaurant. That's from the theatre. More principle to cinema is the mirror motif and low-key lighting. The mirror in the room of several scenes between the mother and her son often serves to show off-screen action, so, for example, we see the son is entering the room before he appears in the shot beside his mother. This allows for less crosscutting. There is one scene with stark low-key lighting (which also features a mirror), a now prevalent film technique, which was probably first to be found prominently in Danish cinema. So, in, primarily, America, one can see the first important stages in dissecting a scene, while Danish filmmakers worked on putting in scene.
helpful•41
- Cineanalyst
- May 6, 2005
Details
- Release date
- Country of origin
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- Also known as
- Framför fängelsets port
- Production company
- See more company credits at IMDbPro
- Runtime41 minutes
- Color
- Sound mix
- Aspect ratio
- 1.33 : 1
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Top Gap
By what name was Temptations of a Great City (1911) officially released in Canada in English?
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