Victor Sjöström Movies

After exploring his disillusionment with religion in his previous films, Ingmar Bergman adopted a humanistic approach for this classic study in isolationism. Legendary Scandinavian director Victor Sjöström stars as Isak Borg, an aging medical professor who reassesses his life while journeying to his former university to receive an honorary degree. Borg travels with his estranged daughter-in-law Marianne (Ingrid Thulin) and revisits many of the landmarks of his past, conjuring up memories of his family and of his onetime sweetheart Sara (Bibi Andersson). Returning to the present, he meets a teenage girl who resembles the long-departed Sara. She hitches a ride with the professor and Marianne, as do a ceaselessly bickering married couple. These new characters eventually become intertwined with Borg's hazy flashbacks and fantasies, as the old man recalls the disappointments and disillusionments that have left him cold and guilt-ridden, attributes emphasized when he encounters his equally cold and resentful son. Bookending Borg's odyssey of self-discovery are a series of symbolic images at the beginning of the film (a clock without hands, a man without a face) and a hauntingly beautiful finale, in which professor is beckoned back to the "perfect" world he left behind so many years earlier. This classic art movie remains one of Bergman's most accessible films and one of the most influential European art movies of its generation. Its intense focus on one man's thoughts, regrets, and memories set the tone for innumerable psychological character studies in its wake. ~ Hal Erickson, All Movie Guide

Nearly a decade before his brilliant starring performance in Ingmar Bergman's Wild Strawberries, Swedish actor/director Victor Sjostrom topped the cast of Arne Mattson's Rallare. At this point in time, Mattson was alternating between thrillers and romances. Rallare falls into neither category: it is instead a pageantlike paean to the 19th-century builders of the Swedish railroad. Ballong (Sjostrom) and his pal Valfrid (John Ellfstrom) are two of the many stout-hearted, strong-limbed laborers who braved the elements to bring transportation to the length and breadth of Sweden. When not driving spikes or laying track, the two venerable stars while away their time with liquor and women -- and sometimes, with women and liquor. A box-office bonanza in Sweden, Rallare was liberally adapted by Rune Lindstrom from his own novel Nordanvind. ~ Hal Erickson, All Movie Guide

Gustav Molander's Woman Without a Face (originally Kvinna utan Ansikte) is distinguished by a screenplay by no less than Ingmar Bergman. Not a remake of Molander's A Woman's Face, as one might assume at first glance, the later film concentrates on the emotional turmoil experienced by an artist named Ruth (Gunn Wallgren). Unable to reach out to her friends and loved ones, Ruth puts her fate in the hands of the duplicitous Victor (George Funkqvist), who is Satan in everything but name. One wonders how this quintessentially Bergmanesque material would have been handled with Bergman himself in the director's chair. In America, Woman Without a Face was sold on the reputation of his male lead, up-and-coming matinee idol Alf Kjellin. ~ Hal Erickson, All Movie Guide

The Swedish-language picture Torment (AKA Hets, 1944) marked one of the first credited screenwriting efforts of the then 26-year-old scenarist Ingmar Bergman, and one of the broadest international successes of the gifted Swedish director Alf Sjöberg; it also launched the onscreen efforts of two young Scandinavian actors, Alf Kjellin and Mai Zetterling. This tragic drama concerns the ill-fated romance between student Jan-Erik Widgren (Kjellin) and Bertha Olsson (Zetterling), a slightly older, alcoholic widow who works at a tobacco store, and whom Jan-Erik meets when he discovers her unconscious in the street. The premise of the film finds Jan-Erik struggling valiantly to maintain his ongoing sexual affair with Bertha, while grappling, on the side, with the machinations of a sadistic and abusive professor, Caligula (Stig Jarrel. Events take an ugly turn when Jan-Erik discovers that Bertha is actually Caligula's lover - setting the stage for tragedy on the night of her booze-soaked orgy with the old man. Ultimately, both lovers are relentlessly victimized by the professor's doings. The cast also includes: Olof Winnerstrand, Hugo Bjorne, Stig Olin, Olav Riego, Marta Arbin and Nils Dahlgren. ~ Nathan Southern, All Movie Guide

In this Swedish film, Clary (Karin Carlsson) the beautiful wife of successful businessman Johan Borg (Lars Hanson), makes the unhappy discovery that she is pregnant. Unwilling to suffer through the emotional and physical effects of bearing a child, Clary opts to keep the information from her husband and have a secret abortion. However, when knowledge of Clary's covert operation falls into the hands of a heartless blackmailer, things become tragically complicated. Ingrid Bergman plays the faithful secretary who harbors a secret crush on her boss, Johan Borg. ~ Iotis Erlewine, All Movie Guide

One of the great directors of the silent era, Victor Sjostrom, teamed with fellow Swede Greta Garbo for this drama. The great Garbo plays Marianne, a young woman from Brittany who was neglected by her impoverished parents. Marianne longs to be an actress and moves to Paris, where theatrical producer Henry Legrand (Lowell Sherman) takes her under his wing; Henry was romantically involved with Marianne's mother years ago and feels a semi-paternal affection for the young woman. Marianne falls in love with Lucien (Lars Hanson), a man who has deserted from the Army and is on the run from the law. To prove his devotion to her, Lucien steals a dress for Marianne, but this only attracts the police and Lucien winds up in jail. With Lucien behind bars, Henry's attentions become less friendly and more romantic, and Marianne must decide if she should wait for the man she loves or devote herself to the man who wants her. Sadly, no complete prints of The Divine Woman are known to exist; one reel of the eight-reel feature was discovered in a Russian film archive, but the remainder of the picture remains lost. ~ Mark Deming, All Movie Guide

The Wind, Victor Sjostrom's final American film, is a western only in its locale: its symbolism-laden story of physical and spiritual repression, culminating in a violent, hysterical outburst, has more in common with the European or Scandanavian cinema than with the usual MGM product. Lillian Gish plays a sheltered Virginia girl who heads to Texas to live with her male cousin and his family. Upon arriving at her new home-actually little more than a squalid shack-she is treated as an unwelcome interloper. Even worse is the omnipresecent wind, which howls ceaselessly all around. To quell the jealousy of her cousin's wife, Lillian marries cowboy Lars Hanson, but this impulsive union seems foredoomed from the start. During Hanson's absence, Lillian is visited by former suitor Montague Love. With rape on his mind, Love laughs derisively as Lillian aims a pistol at his midsection. His laughter ceases when she pulls the trigger (the killing is subtly conveyed by a cutaway to a sand-covered plate, which jiggles slightly from the impact of the shot). In near hysteria, she drags the dead man outside and buries him, the mercilessly wind whipping and buffetting her about. Locking herself in the shack, Lillian looks out the window--and, in fascinated horror, sees Love's body "emerging" from the constantly shifting sands. In the film's original ending, Lillian goes completely mad, wandering blindly into the desert. Preview audiences were revolted by this denoument, so the film now ends with Larson's return and a happy reconciliation (reportedly, director Sjostrom's original cut is still available from European sources). In later years, Lillian Gish recalled The Wind as the toughest, most unpleasant picture she ever worked on. The location scenes were shot in the Mojave Desert, where the combination of relentless heat and artificially induced windstorms made working conditions virtually intolerable. At one point, Ms. Gish absentmindedly clutched the metal handle of her car's door-immediately incurring a second-degree burn. Adapted by Frances Marion from a novel by Dorothy Scarborough, The Wind, despite its artistic merit, was a box-office disappointment, resulting in a parting of the ways between Lillian Gish and MGM. ~ Hal Erickson, All Movie Guide

Director Victor Sjostrom and stars Lon Chaney and Norma Shearer made an impressive team on He Who Gets Slapped. They came together again for this dour and less interesting film, based on the novel The Emperor of Portugallia by the Swedish author Selma Lagerlof. Jan (Chaney) is a farmer whose hard life is brightened by the birth of a daughter, Glory. Love for the little girl transforms him and his wife, Katrina (Claire McDowell). The little family faces financial devastation when their landlord dies, and his son withdraws credit from the tenants. To find the 300 dollars her family needs, Glory, now a young woman (played by Shearer), goes to the city. The son follows after her and seduces her. Glory manages to get together the 300 dollars, but when she returns home, the neighbors shun her. Jan is driven mad by the knowledge that his daughter sold her body. Glory is about to leave on a boat when the landlord's son falls into the paddle wheels and dies. Jan tries to follow and is drowned when he falls off the pier. Glory returns and marries August (William Haines), her childhood sweetheart. ~ Janiss Garza, All Movie Guide

This compelling and exceptionally well-executed silent drama, from new MGM studio executives Irving Thalburg and producer Louis B. Mayer is based on a highly-regarded Russian play and features the studio's biggest stars, Lon Chaney, John Gilbert and Norma Shearer. Directed by noted Swedish filmmmaker Victor Sjostrom, it is the story of a scientific genius who is humiliated by his philandering wife and a major career set-back. To express his pain, bitterness and anger he becomes a circus clown who seems to enjoy the frequently cruel slapstick antics of his new colleagues. While in the circus, he finds a chance at renewal when he falls for a lovely bareback rider. But will he at last find happiness? Or will tragedy continue to be his closest companion? ~ Sandra Brennan, All Movie Guide

Also known as Thy Soul Shall Bear Witness, The Phantom Chariot was the most famous of Swedish director Victor Sjöstrom's pre-Hollywood films. Based on a novel by Selma Lagerlöf, the film is predicated on an ancient Scandanavian legend. It is said that each year, on St. Sylvester's Night (New Year's Eve), a phantom chariot materializes to carry off the souls of those who have sinned. On one such occasion, David Holm (played by Sjöstrom) is forced to recall his past misdeeds, especially his brutal treatment of his wife. Holm's only hope for salvation lies in his performing a spectacular act of selflessness. As the chariot approaches, Holm despairs: how can he possibly be redeemed before the clock strikes twelve? Sjöstrom's masterful direction is superbly complemented by Julius Jaenzon's multi-exposure cinematography. When artists like Victor Sjöstrom and Mauritz Stiller were lured away by Hollywood, their exodus very nearly brought the wrath of "The Phantom Chariot" on the entire Swedish film industry. ~ Hal Erickson, All Movie Guide