My Sister-in-Law from America

Plot

In this Danish silent comedy, Mrs. Balle discovers her husband in what appears to be a compromising situation with another woman. When confronted, the husband quickly claims the mysterious woman is his sister-in-law visiting from America. This explanation only leads to further complications as the supposed American sister-in-law's behavior and stories become increasingly suspicious. The situation escalates with misunderstandings, mistaken identities, and comedic attempts to maintain the ruse. Eventually, the truth about the woman's actual identity and relationship to the family is revealed in a climactic finale.

Historical Background

1917 was a pivotal year in world history, with World War I raging across Europe. Denmark's neutrality positioned it uniquely in the film industry, allowing Danish productions to reach international markets when films from belligerent nations faced restrictions. This period marked the height of Denmark's 'Golden Age of Cinema,' with Nordisk Film dominating the European market. The film industry was rapidly evolving from short one-reelers to feature-length productions, and comedy remained one of the most popular genres internationally. The year also saw the Russian Revolution, which would eventually influence film aesthetics worldwide, though this Danish comedy remained firmly in the popular entertainment tradition.

Making Of

The production took place during a remarkable period in Danish cinema history when the country was the world's third-largest film producer after the United States and France. Director Lau Lauritzen Sr. was establishing himself as a master of comedy, having transitioned from acting to directing just a few years earlier. The cast worked without the benefit of synchronized sound, relying entirely on physical comedy and expressive gestures to convey humor and emotion. The film was shot on 35mm black and white film stock using hand-cranked cameras, requiring precise timing from the cinematographer to maintain consistent exposure and frame rates.

Visual Style

The cinematography was typical of Danish films from this period, utilizing static camera positions for most scenes with occasional tracking shots to follow character movement. The film employed the standard lighting techniques of the era, primarily using natural light from studio windows supplemented by arc lamps. The visual composition followed the theatrical tradition of framing scenes to emphasize the physical comedy and facial expressions of the actors. The film stock used was likely orthochromatic, which rendered blues as dark tones and affected the visual representation of costumes and sets.

Innovations

While not technically groundbreaking, the film demonstrated the professional polish that characterized Nordisk Film's productions. The editing maintained clear narrative continuity, which was still being perfected in cinema of this period. The film's intertitles were well-integrated into the narrative flow, a skill that Danish filmmakers had developed early. The production also utilized Nordisk Film's advanced studio facilities, which included some of the best lighting equipment available at the time.

Music

As a silent film, it would have been accompanied by live musical performance in theaters. Larger cinemas might have employed small orchestras, while smaller venues used piano accompaniment. The score would have consisted of popular classical pieces, theater music, and specially composed themes for emotional moments. Danish theaters of the period often used cue sheets provided by the distributor to guide musicians in matching the mood of each scene. No original score survives, as was typical for films of this era.

Memorable Scenes

• The opening scene where Mrs. Balle discovers her husband with the mysterious woman, leading to frantic explanations and the introduction of the 'sister-in-law from America' story

What Critics Said

Contemporary reviews in Danish newspapers praised the film for its clever plot and the comedic timing of its cast. The trade journal 'Film-Revyen' noted that Gyda Aller's performance was particularly strong and that the film's pacing kept audiences engaged throughout. International trade publications also mentioned the film favorably, noting its potential for export markets. Modern film historians consider the film a solid example of Danish comedy craftsmanship from the period, though not as innovative as some of the more artistic Danish productions of the era.

What Audiences Thought

The film was well-received by Danish audiences upon its release in October 1917, playing successfully in Copenhagen's major cinemas. Its domestic theme of marital misunderstandings resonated with urban middle-class audiences who were the primary cinema-goers of the period. The film also found success in export markets, particularly in Scandinavia and Germany, where Danish comedies were popular. Audience attendance records from the period suggest the film had a respectable run of about 2-3 weeks in major venues, which was typical for successful productions of the time.

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