Preben Neergaard Movies

Ole Ernst plays Peter von Scholten in this historical film biography. Appointed by King Frederick VI (Henning Moritzen) as governor of the Virgin Islands, Peter fights for the education and liberation of the island's black residents, former slaves, while keeping a black mistress on the islands and a wife at home in Denmark. Peter establishes schools for the children and avoids a bloody insurgence from locals bent on violent overthrow of the government. The former governor is charged with treason and dies a dejected man soon after the unfair charges are overturned. ~ Dan Pavlides, Rovi

In this suspenseful chase movie, a couple try to outrun both the police and the gangsters who are after them for a murder they did not commit. Suzanne (Pernille Falck) dreads yet another dull weekend in the country with her rich parents but is unprepared for what lies just ahead. Leonard, an escaped convict, is in desperate need of food and a car, and Suzanne happens to be in the wrong place at the wrong time -- she ends up providing him with both and is taken with him as he makes his motorized getaway. In-between escaping the men who are chasing them, Suzanne and Leonard find time to take advantage of their growing physical attraction, although their romantic interludes are destined to be offset by unexpected trauma as Leonard inadvertently commits a crime that cannot be erased or ignored. ~ Eleanor Mannikka, Rovi

In this children's movie a newly orphaned child from the West Indies encounters prejudice when he is sent to Denmark. There he becomes friends with a poacher who takes him in after he is chastised by the townsfolk. Unfortunately, the poacher is caught and the boy is sent to reform school. Fortunately, he escapes and is taken in by a friendly squire. ~ Sandra Brennan, Rovi

In this science fiction fantasy, a man is able to think of things and make them materialize for a short period of time. He creates a public scene and is brought into a hospital by police. A noted brain surgeon examines the man, who requests an operation in order to allow his creations to last. When the surgeon refuses the operation, the man creates a double of the doctor who marries the physicians fiance, and the doctor finally agrees to perform the surgery on the man. ~ Dan Pavlides, Rovi

In this early generation gap drama, a former resistance fighter turned coffee planter in Kenya (Erno Muller) returns to his hometown of Copenhagen, Denmark only to fall for a girl half his age (Maud Berthelsen). The relationship is doomed, however, due to the man's obsession with his resistance past in general and the liquidation of a Nazi collaborator in particular, an obsession that eventually leads to his own death at the hands of former comrades. Danish novelist Leif Panduro often successfully delved into middle-age angst, but this film was one of his few fiascoes. ~ Hans J. Wollstein, Rovi

The female owner of a resort hotel (Birgitte Reimer) masquerades as a (male) waiter in order to inspect her property in this classic Danish farce which marked the debut of the comedy team of Kjeld Petersen and Dirch Passer. Petersen & Passer (commonly known as "Kellerdirch") reached top stardom in Denmark with a style very reminiscent of American duo Dean Martin and Jerry Lewis. The film was remade as Solstik På Badehotellet (1973). ~ Hans J. Wollstein, Rovi

One of the most admired Danish films of all time, Bjarne Henning-Jensen's Ditte Menneskebarn is the story of a poor girl born out of wedlock (Jette Kehlet plays the child Ditte, then Tove Maës) whose mother (Karen Lykkehus) is an abusive adulterer who nearly kills her eldest daughter. Ditte grows up with her grandmother (wonderfully played by Karen Poulsen), but is ill equipped to later fend for herself as a maid on a large farm. Impregnated and abandoned by the weak-willed son of the house (Preben Neergaard), Ditte, just like her mother, will have to face the future as a social outcast. The original novel was by Martin Andersen Nexø (Pelle the Conqueror), a writer who used a very broad pencil indeed. The American reviewers (who saw the film in 1950 sans several scenes of a nude Maës) certainly thought so, dismissing the film as mere melodrama. Some of the performances are difficult to take for a modern audience, but, overall, the film still has the power to move. ~ Hans J. Wollstein, Rovi