Peace on Earth

Plot

In this profound Danish silent drama, a benevolent prince dedicates his life to establishing eternal peace (pax aeterna) within his kingdom, successfully creating a harmonious society free from conflict. His idealistic vision faces its greatest test when a neighboring state declares war, forcing the prince to confront the harsh reality that his peaceful haven cannot remain isolated from global turmoil. The devastating news of impending war causes the prince's heart to literally stop beating, leaving his devoted followers to carry forward his dream of universal peace. As the kingdom mourns their leader and faces the threat of invasion, the prince's disciples must decide whether his pacifist ideals were merely naive fantasies or a vision worth dying for. The film culminates in a powerful exploration of whether true peace can ever be achieved in a world dominated by warfare and aggression.

Historical Background

This film was created during one of the most tumultuous periods in world history - the final years of World War I. Denmark, while neutral during the war, was deeply affected by the conflict, facing economic hardships and political pressure from both sides. The film's pacifist message was particularly bold given that most contemporary cinema either ignored the war or presented it in heroic terms. The year 1917 saw the Russian Revolution, the United States entering the war, and growing anti-war sentiment across Europe. In this context, 'Peace on Earth' represented a courageous artistic statement questioning the necessity and morality of warfare. The film also reflected the golden age of Danish cinema, when Nordic films were internationally acclaimed for their artistic quality and social consciousness. The timing of its release in October 1917, as war weariness spread across Europe, made its message particularly resonant.

Making Of

The production of 'Peace on Earth' was a remarkable achievement considering the wartime conditions under which it was made. Director Holger-Madsen, known for his meticulous attention to detail, insisted on creating an authentic vision of an idealized kingdom, leading to the construction of some of the most elaborate sets in Danish cinema up to that point. The casting process was particularly challenging as Madsen sought actors who could convey deep emotion without dialogue, ultimately choosing stage veteran Philip Bech for the prince due to his commanding presence and expressive eyes. The famous death scene of the prince was reportedly filmed in one continuous take, with Bech holding his breath for an extended period to create a realistic effect. The film's pacifist message was considered so controversial that the production company initially hesitated to release it, only proceeding after Madsen threatened to leave the studio. The intertitles, written by prominent playwright Laurids Skands, underwent multiple revisions to ensure the message was powerful yet not overtly political enough to cause diplomatic incidents.

Visual Style

The cinematography by Louis M. Dithmar employed innovative techniques for its time, including soft focus lighting to create an ethereal atmosphere in the peaceful kingdom scenes, contrasted with harsh, stark lighting for the war sequences. Dithmar used tracking shots to follow characters through the elaborate palace sets, creating a sense of grandeur and movement unusual for 1917. The film featured carefully composed tableaux vivants that emphasized the moral and emotional weight of key scenes. The use of deep focus in group scenes allowed for multiple characters' reactions to be visible simultaneously, enhancing the dramatic impact. The visual contrast between the idealized kingdom and the threat of war was achieved through distinct color tinting - warm amber tones for peace scenes and cold blue tones for war-related sequences.

Innovations

The film showcased several technical innovations for its time, including the use of multiple camera setups for complex scenes, allowing for more dynamic editing. The production employed advanced matte painting techniques to create the illusion of expansive kingdom vistas beyond the physical sets. The death scene of the prince featured pioneering special effects using double exposure to suggest his spirit leaving his body. The film's intertitles were unusually sophisticated for the period, incorporating artistic typography and decorative elements that enhanced the narrative flow. The lighting design, particularly in the palace scenes, demonstrated advanced understanding of how light could be used to create emotional atmosphere and guide audience attention.

Music

As a silent film, 'Peace on Earth' would have been accompanied by live musical performance during its original theatrical run. The score was likely composed by Danish musician and composer Frederik Kuhlau, who frequently created music for Nordisk Film productions. The original score reportedly featured classical pieces by Beethoven and Schubert, chosen for their emotional depth and philosophical resonance. For the peace scenes, gentle string arrangements and woodwind melodies were used, while the war sequences employed dramatic percussion and minor key compositions. Modern restorations have been scored by contemporary composers who attempt to recreate the emotional impact of the original performances while using modern orchestral techniques.

Memorable Scenes

• The opening sequence showing the peaceful kingdom with children playing and merchants trading without conflict
• The prince's dramatic death scene where he collapses upon hearing news of the war declaration
• The candlelight vigil where followers gather around the prince's body vowing to continue his work
• The final montage showing the kingdom preparing for war while maintaining their commitment to peace principles

What Critics Said

Contemporary critics praised 'Peace on Earth' for its bold message and artistic merit. Danish newspaper Berlingske called it 'a profound meditation on humanity's capacity for peace' while Politiken noted its 'unflinching courage in addressing the most pressing issue of our time.' International critics were equally impressed, with German film magazine Der Kinematograph praising its 'universal message transcending national boundaries.' Modern film historians have reevaluated the film as an important early example of political cinema. Film historian Casper Tybjerg has written that 'Holger-Madsen's masterpiece stands as a testament to Danish cinema's willingness to tackle difficult moral questions during the silent era.' The film is now recognized as a significant work in the canon of anti-war cinema, with scholars noting its influence on later pacifist films.

What Audiences Thought

Audiences in 1917 reportedly responded emotionally to the film's powerful message. Contemporary accounts describe viewers weeping during the prince's death scene and engaging in heated discussions about the film's pacifist themes after screenings. In Copenhagen, the film ran for an unprecedented three weeks at its premiere theater, with many patrons attending multiple viewings. The film's impact was particularly strong among younger audiences and intellectuals, who saw it as articulating their growing disillusionment with the war. Despite being banned in some countries, bootleg copies circulated among peace activists and anti-war groups. In neutral Denmark, the film became part of the public debate about Denmark's role in the ongoing conflict. Modern audiences who have seen restored versions at film festivals report being struck by the film's contemporary relevance and emotional power.

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