Olof Koskela is the son of a rich farmer. He seduces young girls at random, until an inconsistent gesture rushes him away from home and his carefree lifestyle. Based on the 1905 novel by Fin... Read allOlof Koskela is the son of a rich farmer. He seduces young girls at random, until an inconsistent gesture rushes him away from home and his carefree lifestyle. Based on the 1905 novel by Finnish author Johannes Linnankoski.Olof Koskela is the son of a rich farmer. He seduces young girls at random, until an inconsistent gesture rushes him away from home and his carefree lifestyle. Based on the 1905 novel by Finnish author Johannes Linnankoski.
Lillebil Ibsen
- Elli
- (as Lillebil Christensen)
Ernst Brunman
- Café Guest
- (uncredited)
Arvid Dahlberg
- Timber Raft Man
- (uncredited)
Bengt Djurberg
- Young Man
- (uncredited)
Emil Fjellström
- Café Guest
- (uncredited)
Mona Geijer-Falkner
- Maid
- (uncredited)
Paul Hagman
- Timber Raft Man
- (uncredited)
Doris Nelson
- Prostitute
- (uncredited)
Karl Persson
- Lars Hanson's Double
- (uncredited)
Tekla Sjöblom
- Maid
- (uncredited)
Storyline
Did you know
- TriviaMauritz Stiller (1883 - 1928) is, along with Victor Sjöström, the big name in Swedish silent film. He grew up in Helsinki, but traveled to Sweden at a young age, where he was active both as an actor and director. He made his directorial debut in 1912 with Mother and Daughter. During the years 1912-1916, he directed no less than 34 films, of which Vingarne (1916) is the most notable. But it was during the following years that he would make his very best films, such as Herr Arnes pengar (1919), Sången om den eldröda blomman (1919), Erotikon (1920) and the three-hour epic Gösta Berlings saga (1924), which became his last Swedish production before he traveled to Hollywood together with the film's star - Greta Garbo. He was involved in four American productions, but only Hotel Imperial (1928) was completed by himself. He then returned to Sweden where he died a short time later in the aftermath of a lung disease.
- ConnectionsFeatured in Minns Ni? (1993)
- SoundtracksNR 1
Composed by Kristofer Stange
Featured review
Required rather less Hanson and more Jaenzon
This is not amongst my favourite Stiller films. The whimsical style of the curious 1905 Finnish (verse?) novel on which it is based, Laulu tulipunaisesta kukasta is more than a shade irritating although, it is true, that it makes a pleasant change in some ways from the rather over-substantial diet of Selma Lagerlof that formed the basis for so many Swedish films of the period. Nor do I find Lars Hanson at his best in these more manly role in which he was sometimes cast and for which he does not really have the "carrure". As with Cocteau and Jean Marais (who was however a more genuine cascadeur), one suspects Stiller was himself more than a little starry-eyed about his young star at this point in their respective careers.
The narration in demi-detached chapters is too patchy to provide good continuity. In the distinctly dark sixth chapter, there is a fine scene where Olaf talks to himself in a mirror as though to his "double" (evidently influenced by the German classic Der Student von Prag) but, excellent though the scene is, one is not very clear on how one has arrived at that point. And the morality of the final chapter is, to say the least, odd.
The compensation is the superb (as ever) cinematography of Henrik Jaenzon and the evocation of life amongst the river log-drivers. Had there been rather more of this and rather less of Hanson's romancing, it could have been a very good film....
I shall leave this world where men are men with a touch of the equally whimsical style of Herr von Galtizen which we all know in love, in words graven on the hearts of every true Marxist*, that I shall now myself return to the closet where men are empty overcoats.
*tendance Groucho, need I say.
The narration in demi-detached chapters is too patchy to provide good continuity. In the distinctly dark sixth chapter, there is a fine scene where Olaf talks to himself in a mirror as though to his "double" (evidently influenced by the German classic Der Student von Prag) but, excellent though the scene is, one is not very clear on how one has arrived at that point. And the morality of the final chapter is, to say the least, odd.
The compensation is the superb (as ever) cinematography of Henrik Jaenzon and the evocation of life amongst the river log-drivers. Had there been rather more of this and rather less of Hanson's romancing, it could have been a very good film....
I shall leave this world where men are men with a touch of the equally whimsical style of Herr von Galtizen which we all know in love, in words graven on the hearts of every true Marxist*, that I shall now myself return to the closet where men are empty overcoats.
*tendance Groucho, need I say.
helpful•44
- kekseksa
- Oct 28, 2017
Details
- Release date
- Country of origin
- Language
- Also known as
- Song of the Scarlet Flower
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- SEK 180,000 (estimated)
- Runtime2 hours 25 minutes
- Sound mix
- Aspect ratio
- 1.33 : 1
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By what name was Sången om den eldröda blomman (1919) officially released in Canada in English?
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