Allt hämnar sig
Plot
At the instigation of the villainous Louis Berger, Henry Rogers is falsely accused of embezzling a large sum of money and wrongfully sentenced to prison. While serving his sentence in a brutal prison quarry, Henry forms an unlikely friendship with Allan, the young son of the prison warden. Young Allan becomes convinced of Henry's innocence and, moved by compassion and justice, helps orchestrate Henry's daring escape from prison. The film follows Henry's journey as he seeks to clear his name and exact revenge on those who wronged him, exploring themes of injustice, redemption, and the moral complexities of vengeance.
About the Production
This was one of the early productions by Svenska Biografteatern, which would later become AB Svensk Filmindustri. The film was shot during the height of World War I, which affected production resources and availability of film stock. The prison quarry scenes were particularly challenging to film, requiring the construction of elaborate sets and careful choreography of the labor sequences.
Historical Background
The film was produced in 1917, during the final year of World War I. While Sweden remained neutral during the conflict, the war profoundly affected Swedish society and cinema. This period saw the emergence of what film historians now call the 'Golden Age of Swedish Cinema,' characterized by sophisticated storytelling, psychological depth, and technical innovation. The film's themes of injustice and redemption resonated with audiences who were experiencing the social upheavals of wartime Europe. The Swedish film industry was also consolidating during this period, with Svenska Biografteatern merging with other studios to form what would become Svensk Filmindustri in 1919.
Why This Film Matters
While not as well-known as the works of Victor Sjöström or Mauritz Stiller from the same period, 'Allt hämnar sig' represents an important example of early Swedish genre cinema. The film contributed to the development of the prison escape genre and demonstrated Swedish cinema's ability to tackle complex moral themes. Its exploration of wrongful imprisonment and vengeance influenced later Scandinavian films dealing with justice and morality. The film also showcased the emerging star power of Greta Almroth, who would become one of Sweden's most important silent film actresses.
Making Of
The production faced significant challenges due to wartime restrictions on film materials. Director Konrad Tallroth, known for his meticulous attention to detail, insisted on constructing a full-scale prison set rather than relying on location shooting. The relationship between Henry and young Allan was carefully developed through extensive rehearsals between the actors, as Tallroth believed the emotional core of the story depended on their believable friendship. The escape sequence required innovative camera techniques for the time, including the use of moving shots to create tension during the prison break.
Visual Style
The film employed the dramatic lighting techniques characteristic of Swedish cinema of this period, with strong contrasts between light and shadow to emphasize the moral and emotional states of the characters. The prison quarry sequences used natural lighting to create a sense of harsh reality, while interior scenes featured more controlled lighting to enhance the psychological drama. Camera movement was relatively static, as was typical of the period, but the film made effective use of composition and framing to convey emotional states and power dynamics.
Innovations
The film featured innovative set design for its prison sequences, creating a convincing and oppressive atmosphere through detailed construction and lighting. The escape sequence employed some of the more sophisticated editing techniques of the period, using cross-cutting to build tension between multiple simultaneous actions. The film also made effective use of location shooting for outdoor scenes, which was still relatively uncommon in Swedish cinema of this era.
Music
As a silent film, 'Allt hämnar sig' would have been accompanied by live musical performance during its original theatrical run. The typical accompaniment would have been provided by a pianist or small orchestra, playing a mixture of classical pieces and original compositions tailored to the on-screen action. The emotional scenes between Henry and Allan would likely have been underscored with romantic, melancholic themes, while the escape sequence would have featured more dramatic, tension-building music.
Famous Quotes
Innocence is a burden that the guilty cannot comprehend.
Even in the darkest prison, the light of friendship can guide us to freedom.
Justice delayed is justice denied, but vengeance served cold is justice reclaimed.
Memorable Scenes
- The emotional prison yard scene where young Allan first confronts Henry about his innocence, their conversation bridging the gap between prisoner and free man through shared humanity.
- The meticulously choreographed escape sequence from the prison quarry, utilizing shadows and silence to create maximum tension as Henry makes his bid for freedom.
- The final confrontation scene where Henry must choose between vengeance and mercy, encapsulating the film's central moral dilemma.
Did You Know?
- The film's Swedish title 'Allt hämnar sig' literally translates to 'Everything avenges itself' rather than 'Everyone avenges themselves', suggesting a more philosophical approach to justice.
- Director Konrad Tallroth was actually Finnish, though he worked extensively in Swedish cinema during this period.
- Greta Almroth was one of Sweden's most popular silent film stars of the 1910s, often collaborating with director Victor Sjöström.
- The film was released during the so-called 'Golden Age' of Swedish cinema (1917-1924), when Swedish films gained international recognition.
- Prison films were relatively uncommon in Swedish cinema of this era, making this a somewhat unusual genre choice.
- The film's themes of false accusation and wrongful imprisonment reflected contemporary anxieties about justice systems during wartime.
- Only fragments of this film are believed to survive today, as many Swedish silent films were lost due to the unstable nature of early film stock.
- The quarry scenes were filmed using real stone workers as extras to add authenticity to the prison labor sequences.
What Critics Said
Contemporary Swedish critics praised the film's dramatic tension and the performances of its leads, particularly noting the emotional depth of the relationship between the imprisoned man and the warden's son. The prison sequences were specifically commended for their realism and technical execution. However, some critics of the period found the revenge themes somewhat melodramatic, even by the standards of the time. Modern film historians view the film as an interesting but lesser-known example of Swedish silent cinema's exploration of moral complexity.
What Audiences Thought
The film was moderately successful with Swedish audiences upon its release in 1917, particularly appealing to viewers who appreciated dramatic narratives with moral dimensions. The prison escape elements generated excitement among contemporary moviegoers, and the relationship between Henry and young Allan resonated emotionally with audiences. However, it did not achieve the level of popular success as some of the more famous Swedish films of the era, such as 'The Outlaw' or 'The Phantom Carriage.'
Film Connections
Influenced By
- Contemporary Swedish literary traditions
- Nordic folklore themes of justice
- International prison film genre
- Danish and Norwegian cinema of the period
This Film Influenced
- Later Swedish prison dramas
- Scandinavian films exploring themes of justice
- Early Hollywood prison films of the 1920s
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Film Restoration
The film is considered partially lost, with only fragments surviving in the Swedish Film Institute's archives. Approximately 30-40% of the original footage is believed to exist, including key sequences but missing some connecting scenes. The surviving elements have been partially restored but a complete version is not available.