The End of the World

Plot

In a small mining town, foreman West lives with his daughters Edith and Dina. When wealthy mine owner Frank Stoll arrives to inspect operations, he becomes infatuated with Dina and convinces her to elope against her father's wishes. When astronomers discover a comet on a collision course with Earth, Stoll sees an opportunity for profit. He collaborates with newspaper editors to suppress the news while secretly using the information to manipulate the stock market. As panic eventually spreads, Stoll prepares to survive in a specially constructed underground shelter with Dina and his wealthy associates, but his plans for survival are threatened by the very chaos he helped create.

Historical Background

The film was produced during the height of World War I, a time when apocalyptic fears were widespread across Europe. Although Denmark remained neutral, the war's devastation was deeply felt, and the film's themes of worldwide catastrophe resonated powerfully with contemporary audiences. 1916 was also a period of significant scientific advancement, with astronomy and physics making rapid progress, yet public understanding of celestial mechanics remained limited, making the comet scenario plausible to many viewers. The film's critique of media manipulation and financial exploitation reflected growing public skepticism about press and business ethics during the war years.

Making Of

The production of 'The End of the World' was one of the most 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.

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.

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 Critics Said

Contemporary critics praised the film's ambitious scope and technical achievements. Danish newspapers called it 'a triumph of Danish cinema' and 'a spectacle unlike anything seen before.' International reviews, particularly in American trade papers like Variety and Moving Picture World, highlighted the film's impressive special effects and gripping narrative. Modern film historians regard it as a pioneering work in the disaster genre, with scholars noting its influence on later films like 'When Worlds Collide' (1951) and 'Meteor' (1979). The film is frequently cited in academic studies of early science fiction cinema as an example of the genre's sophisticated development outside Hollywood.

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.

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