Victor Sjöström's Körkarlen plunges the viewer into life's lower depths for much of its running time, with grim scenes of alcoholic degradation, family violence and suicidal despair, but the most memorable passages involve the mythic image of Death itself. Here Death is embodied as a ghostly horse-drawn carriage, driven by a miserable sinner who was the last person to die on the previous New Year's Eve. For one year the wretch must collect the souls of the newly departed, and after twelve months of this horrible servitude the driver's own soul is finally released when the last person to die on December 31st becomes the new driver.
The scenes involving this carriage (the film was known as "The Phantom Carriage" or "The Phantom Chariot" in English-speaking countries) are eerie and mesmerizing, utilizing double-exposure cinematography that was quite sophisticated for its time and still effective when seen today. Most strikingly, the carriage travels to the floor of the ocean to collect the soul of a person who drowned. As fascinating as these scenes are, however, the bulk of the film is concerned with the downward spiral of David Holm, played by the director himself in an understated portrayal of a man who has given up on the possibility of living a decent life. In flashbacks we see Holm enjoying a pleasant day at the beach with his wife, children and brother, and he appears to be a perfectly ordinary guy. Abruptly, without segue or explanation, we then see Holm as an alcoholic wreck, in trouble with the law and alienated from his family. Ordinarily this leap from Before to After might feel like a story-telling deficiency, but in this case the filmmakers trust us to fill in the familiar, sordid details on our own. It's suggested that Holm has been led astray by his convivial friend Georges, the drinking companion who first relates the tale of the Phantom Carriage, but whatever the cause of his downfall Holm appears to be a lost cause, a mean-spirited drunk who takes perverse pleasure in inflicting pain on his family and in refusing to reform.
While David Holm is our central figure the story's true catalyst is a young Salvation Army nurse who takes a sympathetic interest in his case and doggedly believes in him despite his hateful behavior. When the nurse herself is dying-- indirectly due to her ministrations on Holm's behalf --she demands to see him, and thus inadvertently sets in motion a chain of events that will result in his recovery.
At times this film resembles Dickens' tale of Scrooge in its use of ghostly visitors who inspire a flawed man to take stock of his life, suffer over his misbehavior, and reform. I was also reminded of Sjöström's 1917 drama Terje Vigen, in which a man returns from jail to find his house empty and his family gone: a sequence echoed here. The director reiterates a standard theme of Scandinavian folklore, found earlier in his Berg-Ejvind och hans hustru (a.k.a. "The Outlaw and His Wife," 1918) that no man can outrun his fate. This time, however, it could be argued that David Holm actually succeeds in evading his seemingly inevitable fate, for he's given an unexpected second chance to make amends.
Viewers expecting a a supernatural tale will appreciate the sequences featuring the Phantom Carriage of the title, but may not be prepared for this film's painful examination of a troubled man's alcoholic downfall. But those with a taste for intense and powerful silent drama will appreciate Körkarlen in its entirety. It stands with the best serious cinema of its era and is certainly one of Sjöström's most accomplished works.
The scenes involving this carriage (the film was known as "The Phantom Carriage" or "The Phantom Chariot" in English-speaking countries) are eerie and mesmerizing, utilizing double-exposure cinematography that was quite sophisticated for its time and still effective when seen today. Most strikingly, the carriage travels to the floor of the ocean to collect the soul of a person who drowned. As fascinating as these scenes are, however, the bulk of the film is concerned with the downward spiral of David Holm, played by the director himself in an understated portrayal of a man who has given up on the possibility of living a decent life. In flashbacks we see Holm enjoying a pleasant day at the beach with his wife, children and brother, and he appears to be a perfectly ordinary guy. Abruptly, without segue or explanation, we then see Holm as an alcoholic wreck, in trouble with the law and alienated from his family. Ordinarily this leap from Before to After might feel like a story-telling deficiency, but in this case the filmmakers trust us to fill in the familiar, sordid details on our own. It's suggested that Holm has been led astray by his convivial friend Georges, the drinking companion who first relates the tale of the Phantom Carriage, but whatever the cause of his downfall Holm appears to be a lost cause, a mean-spirited drunk who takes perverse pleasure in inflicting pain on his family and in refusing to reform.
While David Holm is our central figure the story's true catalyst is a young Salvation Army nurse who takes a sympathetic interest in his case and doggedly believes in him despite his hateful behavior. When the nurse herself is dying-- indirectly due to her ministrations on Holm's behalf --she demands to see him, and thus inadvertently sets in motion a chain of events that will result in his recovery.
At times this film resembles Dickens' tale of Scrooge in its use of ghostly visitors who inspire a flawed man to take stock of his life, suffer over his misbehavior, and reform. I was also reminded of Sjöström's 1917 drama Terje Vigen, in which a man returns from jail to find his house empty and his family gone: a sequence echoed here. The director reiterates a standard theme of Scandinavian folklore, found earlier in his Berg-Ejvind och hans hustru (a.k.a. "The Outlaw and His Wife," 1918) that no man can outrun his fate. This time, however, it could be argued that David Holm actually succeeds in evading his seemingly inevitable fate, for he's given an unexpected second chance to make amends.
Viewers expecting a a supernatural tale will appreciate the sequences featuring the Phantom Carriage of the title, but may not be prepared for this film's painful examination of a troubled man's alcoholic downfall. But those with a taste for intense and powerful silent drama will appreciate Körkarlen in its entirety. It stands with the best serious cinema of its era and is certainly one of Sjöström's most accomplished works.