Swedish Film and Germany, 1933–45

Abstract

In the decade or so between Victor Sjöström’s Ingeborg Holm (1913) and Mauritz Stiller’s The Story/Atonement of Gösta Berling (Gösta Berlings saga, 1924), Swedish film attracted international attention for its narrative sophistication and innovative visual techniques. By 1924, however, both Sjöström (‘Seastrom’) and Stiller had relocated to Hollywood; the indigenous film industry subsequently underwent a precipitous decline both qualitatively and quantitatively, reaching a low point in 1929, when only six Swedish works premiered. The introduction of simultaneous sound and image recording at the beginning of the new decade brought far-reaching changes. With the language barrier virtually eliminating exports, filmmakers focused on the domestic market. During the 1930s, as going to the movies became a progressively more popular activity, film production increased again, averaging about 25 features a year. Svensk Filmindustri, specialising in ‘quality’ films, continued to dominate, but a spate of other production companies arose, including the hugely successful Europa Film, where the focus was on ‘folksy’ entertainment. Following the model already established by Svensk Filmindustri, Europa Film consolidated its position by establishing a chain of movie theatres to show its own films. Another high-profile company, Sandrews, proceeded in reverse, expanding from theatre ownership into film production by the end of the decade.¹