Karin, Daughter of Ingmar
Plot
The film continues the story from 'Sons of Ingmar,' focusing on Karin Ingmarsdotter, who is torn between her love for Eljas and her duty to her family and community. When Eljas leaves for America to join the religious sect that has emigrated from their village, Karin is left heartbroken. She eventually marries the stern but kind local schoolmaster, Stor-Ingmar, to fulfill the expectations of her community and family. The film explores themes of love, duty, faith, and the conflict between individual desires and community obligations in rural Sweden at the turn of the century.
About the Production
The film was part of a planned larger adaptation of Selma Lagerlöf's 'Jerusalem' novel. Due to the unenthusiastic critical reception of both 'Sons of Ingmar' (1919) and 'Karin, Daughter of Ingmar' (1920), Victor Sjöström abandoned plans to direct further parts of the adaptation. The film was shot during the transitional period when Swedish cinema was moving from short films to feature-length productions.
Historical Background
'Karin, Daughter of Ingmar' was produced in 1920, a period of significant transition in Sweden and internationally. Sweden was navigating the aftermath of World War I, in which it had remained neutral but was still affected by economic and social changes. The country was experiencing industrialization and urbanization, which contrasted with the rural, traditional settings depicted in the film. The early 1920s also marked what is now considered the 'Golden Age of Swedish Cinema' (1917-1924), when Swedish films gained international recognition for their artistic quality and innovative storytelling techniques. The film's source material, Selma Lagerlöf's 'Jerusalem,' reflected real historical events of religious movements and emigration that had affected Swedish society in the late 19th century. The film was made during a time when silent cinema was reaching new heights of artistic expression worldwide, with directors like Sjöström contributing to the development of film as an art form.
Why This Film Matters
'Karin, Daughter of Ingmar' represents an important cultural artifact from Sweden's cinematic golden age. Its adaptation of Selma Lagerlöf's work demonstrates the early connection between Swedish literature and film, showcasing how the country's literary heritage was being preserved and reinterpreted through the new medium of cinema. The film, along with its predecessor, contributed to establishing Victor Sjöström as one of the pioneering directors of international cinema. Though the planned series was abandoned, these films represent an early attempt at creating a multi-part literary adaptation, a format that would become common in later cinema. The film also reflects Swedish cultural values and social structures of the period, particularly the tension between individual desires and community obligations that was characteristic of rural Swedish society. Its preservation allows modern audiences to glimpse early 20th-century Swedish culture, landscapes, and social dynamics.
Making Of
The production of 'Karin, Daughter of Ingmar' took place during a significant period in Swedish cinema history. Victor Sjöström, already an established director, chose to adapt Selma Lagerlöf's work, which was considered a prestigious literary source. The filming likely took place in rural Sweden to authentically depict the setting of the story. Sjöström, who also acted in the film, worked with cinematographer Julius Jaenzon to create the visual style that characterized Swedish cinema during its golden age. The production faced the challenge of condensing complex literary material into a feature film while maintaining the emotional depth and social commentary of the source material. The decision to abandon the planned series after this film's reception must have been disappointing for the filmmakers, as adapting Lagerlöf's work was considered a significant cultural undertaking.
Visual Style
The cinematography for 'Karin, Daughter of Ingmar' was handled by Julius Jaenzon, a frequent collaborator with Victor Sjöström during this period. Jaenzon was known for his ability to capture the Swedish landscape with atmospheric quality, using natural light and location shooting to create a sense of authenticity. The film likely employed the visual style characteristic of Swedish cinema's golden age, which emphasized natural settings, dramatic lighting, and compositions that reflected the psychological states of the characters. The cinematography would have contributed to the film's emotional impact, particularly in scenes depicting the rural landscapes that play such an important role in Lagerlöf's work. The visual approach probably contrasted with the more studio-bound productions common in other European cinemas of the time, helping to establish a distinctive Swedish cinematic identity.
Innovations
'Karin, Daughter of Ingmar' employed the technical standards of high-quality
Music
As a silent film, 'Karin, Daughter of Ingmar' would have been accompanied by live musical performance during its original theatrical runs. The specific musical arrangements used in Sweden in 1920 are not well documented, but they likely consisted of classical pieces adapted to the mood of various scenes, with perhaps some Swedish folk elements to reflect the setting. In modern screenings, the film is typically accompanied by specially composed scores or appropriate period music. The emotional content of the story, with its themes of love, loss, and spiritual conflict, would have required music that could enhance the dramatic moments without overwhelming the visual narrative.
Did You Know?
- 'Karin, Daughter of Ingmar' was the second part of Victor Sjöström's planned adaptation of Selma Lagerlöf's acclaimed novel 'Jerusalem.'
- The film was based on chapters 3 and 4 of the novel, while the first film 'Sons of Ingmar' (1919) covered chapters 1 and 2.
- Despite being directed by one of Sweden's most celebrated filmmakers and based on work by Nobel laureate Selma Lagerlöf, the film received unenthusiastic reviews.
- Victor Sjöström, who also played a role in the film, decided not to continue with the planned series after this film's reception.
- The film represents an early example of literary adaptation in Swedish cinema, bringing one of the country's most important literary works to the screen.
- Tora Teje, who played Karin, was one of Sweden's most prominent silent film actresses and had previously starred in Sjöström's 'The Outlaw' (1918).
- The film was produced during the 'Golden Age of Swedish Cinema' (1917-1924), when Swedish films gained international recognition for their artistic quality.
- Selma Lagerlöf, the author of the source novel, was the first woman to win the Nobel Prize in Literature (1909).
- The complete novel 'Jerusalem' deals with a religious sect from Dalarna, Sweden, that emigrates to Jerusalem, but the films focus on the characters who remain in Sweden.
- The film's cinematography was handled by Julius Jaenzon, who was a frequent collaborator with Sjöström during this period.
What Critics Said
The critical reception of 'Karin, Daughter of Ingmar' was reportedly unenthusiastic, which was disappointing given the pedigree of both the director (Victor Sjöström) and the source material (Selma Lagerlöf's Nobel Prize-winning novel). Critics apparently found the adaptation lacking compared to the literary work, though specific reviews from the period are scarce today. This reception, combined with the similar response to its predecessor 'Sons of Ingmar,' led Sjöström to abandon plans for completing the full adaptation of 'Jerusalem.' Modern film historians and critics have reassessed the film within the context of Sjöström's oeuvre and the golden age of Swedish cinema, recognizing it as an important though perhaps not entirely successful example of literary adaptation from that period. Some contemporary critics appreciate the film for its atmospheric cinematography and the performances, particularly Tora Teje's portrayal of Karin.
What Audiences Thought
Specific information about audience reception in 1920 is limited, but the fact that Sjöström decided not to continue with the planned series suggests that the film did not achieve the popular success hoped for. Swedish audiences of the time would have been familiar with Selma Lagerlöf's work and might have had high expectations for the adaptation. The film's themes of religious conflict, emigration, and the tension between tradition and change would have resonated with contemporary Swedish audiences who were experiencing similar social transformations. Despite the apparent lack of overwhelming success, the film did contribute to the growing appreciation of Swedish cinema both domestically and internationally during this period.