The End of the World

About the production

The film featured some of the most elaborate special effects of its time, including miniature models, matte paintings, and innovative use of multiple exposures to create the comet's approach and destruction sequences. The production took approximately 3-4 months to complete, unusually long for the period.

Themes

Themes & topics

Historical background

Exhibitors around 1916 slotted The End of the World into mixed bills where shorts, newsreels, and features shared the same program.

Why this film matters

Historians treat The End of the World as evidence of what typical 1916 audiences could see in a program slot.

Making of

The production of 'The End of the World' was especially ambitious undertakings in Danish cinema up to that point. Director August Blom, working with cinematographer Louis M. Mortensen, pushed the boundaries of visual effects technology. The comet sequences required multiple exposures and careful timing, with the team creating elaborate miniature models of cities and landscapes. The underground shelter set was built on a massive scale, allowing for complex camera movements. The film's themes of impending doom resonated strongly with audiences during World War I, even though neutral Denmark was not directly involved in the conflict. The cast included some of Denmark's biggest stars, with Olaf Fønss commanding the highest salary in Scandinavian cinema at the time.

What critics said

Modern retrospectives screen The End of the World to illustrate 1916 pacing and camera norms.

Did you know?

• This was one of the first feature-length science fiction disaster films in cinema history, predating similar Hollywood productions by several years
• The film was an international success and was exported to over 20 countries, including the United States where it was distributed by Fox Film Corporation
• Director August Blom was one of Denmark's most prolific directors, having made over 100 films by 1916
• The comet special effects were created using a combination of glass paintings, miniatures, and multiple exposure techniques that were groundbreaking for the time
• The film's themes of media manipulation and financial exploitation during crisis were remarkably prescient, anticipating similar scenarios in later disaster films
• Star Olaf Fønss was Denmark's biggest male movie star of the 1910s and was later courted by Hollywood but chose to remain in Europe
• The original Danish title 'Verdens Undergang' translates literally to 'The World's Downfall' or 'The World's Doom'
• The film was considered lost for decades but was rediscovered and restored in the 1980s from surviving prints in various archives
• The underground shelter sequences were filmed on specially constructed sets that were among the largest built in Danish cinema up to that point
• The film's success helped establish Nordisk Film as one of Europe's leading production companies before World War I disrupted international film distribution

Visual style

The cinematography by Louis M. Mortensen was groundbreaking for its time, featuring innovative techniques including multiple exposures for the comet effects, elaborate miniature photography, and sophisticated matte paintings. The film used dynamic camera movements unusual for the period, particularly in the underground shelter sequences where the camera moves through the complex set design. The visual contrast between the bright, open mining town scenes and the dark, claustrophobic underground spaces creates powerful visual symbolism. The destruction sequences employed some of the most complex special effects photography of the silent era, requiring precise timing and technical skill.

Innovations

The film's most significant technical achievement was its pioneering use of special effects to depict cosmic catastrophe. The team at Nordisk Film developed innovative techniques for creating the comet's approach using multiple exposures, traveling mattes, and miniature photography. The destruction sequences required complex synchronization between different film elements and were among the most ambitious effects shots of their time. The production also featured elaborate set design, particularly the underground shelter complex, which was built on a scale rarely seen in European cinema of the period. The film's successful integration of these effects into a coherent narrative was a major technical accomplishment.

Music

As a silent film, 'The End of the World' would have been accompanied by live musical performance in theaters. The original Danish release likely featured a compiled score using classical pieces, as was common practice. For dramatic scenes, music from composers like Wagner or Tchaikovsky would have been appropriate, while lighter popular music might accompany the romantic scenes. The comet sequences would have required specially composed or selected dramatic music to enhance the spectacle. Modern restorations have been scored with newly composed music that attempts to recreate the emotional impact of the original theatrical experience.

Famous quotes

The end of the world is good business if you know how to play it - Frank Stoll

When money speaks, truth is silent - Newspaper editor

In the face of eternity, all our struggles seem so small - Foreman West

Memorable scenes

• The spectacular sequence showing the comet's approach to Earth, using innovative special effects with multiple exposures and miniature models that created a sense of overwhelming cosmic scale
• The tense underground shelter scene where the wealthy elite prepare to survive while chaos reigns above, highlighting class divisions and moral choices
• The stock exchange sequence showing Stoll's manipulation of the market as panic spreads, demonstrating the film's critique of financial exploitation

What audiences thought

The film was enormously popular with audiences across Europe and North America. In Denmark, it broke box office records and played for extended runs in Copenhagen theaters. International audiences were particularly impressed by the spectacular effects sequences, which were unlike anything most viewers had seen before. The film's emotional core - the family drama set against cosmic catastrophe - resonated strongly with wartime audiences who were experiencing their own form of uncertainty about the future. Contemporary accounts describe audiences gasping during the comet sequences and becoming emotionally invested in the characters' fates.

Film connections

Influenced by

• Georges Méliès' early trick films
• Danish literary traditions of social realism
• Contemporary newspaper accounts of Halley's Comet (1910)
• Early 20th century scientific speculation about cosmic threats

This film influenced

• When Worlds Collide (1951)
• Meteor (1979)
• Deep Impact (1998)
• Armageddon (1998)
• 2012 (2009)
• Greenland (2020)

Film restoration

The film was considered partially lost for many years but has been largely restored from surviving prints in the Danish Film Institute archive and other international collections. A restored version with English intertitles exists and has been screened at film festivals and special cinema events. The restoration work was completed in the early 2000s, though some sequences remain incomplete or damaged.

Where to watch

• Available on DVD from specialty distributors like Kino Lorber
• Streaming on MUBI and other classic film platforms
• Occasionally screened at film festivals and cinematheques
• Available for viewing at the Danish Film Institute archive
• Some versions available on YouTube and other free streaming sites (quality varies)