The President

Plot

A young man, Karl Victor von Sendlingen, makes a solemn deathbed promise to his father to never marry beneath his social station. Years later, as a successful man, he falls deeply in love with Victorine Lippmann, a humble governess. Despite their passionate affair, he abandons her when she becomes pregnant, unable to break his vow to his father. Many years later, now serving as the President of the court in his town, Karl Victor faces an agonizing moral dilemma when he must preside over the trial of his own illegitimate daughter, who stands accused of infanticide after killing her own child born out of wedlock, forcing him to confront the consequences of his past actions and the rigid social codes that destroyed multiple lives.

Historical Background

The President was produced during a pivotal moment in European history, released in 1919 as the continent grappled with the aftermath of World War I. This period saw tremendous social upheaval, with traditional class structures and moral codes being questioned across Europe. Denmark, though neutral during the war, experienced significant economic and social changes that influenced its cultural output. The film's exploration of rigid social hierarchies and their human costs resonated deeply with audiences questioning the old order. The Danish film industry was at its peak during this era, with Nordisk Film being one of Europe's most productive studios. This film emerged during the transition from the early cinematic pioneers to the more sophisticated artistic movements of the 1920s, representing a bridge between Victorian moralism and modern psychological complexity.

Making Of

The production of 'The President' marked Carl Theodor Dreyer's transition from journalism and screenwriting to directing. Dreyer, who had previously worked as a journalist and written screenplays for other directors, fought for creative control on this project. He insisted on extensive rehearsals with his actors, particularly Halvard Hoff, who played the lead role. Dreyer's meticulous approach to performance was revolutionary for the time, as he sought naturalistic acting rather than the exaggerated gestures common in silent cinema. The film's production was hampered by post-war shortages, but Dreyer's determination to create a serious artistic work never wavered. His use of location shooting combined with studio work demonstrated a sophisticated understanding of cinematic space that was ahead of its time.

Visual Style

The cinematography by George Schnéevoigt demonstrates remarkable sophistication for 1919, featuring innovative use of lighting and shadow to create psychological atmosphere. Dreyer and Schnéevoigt employed chiaroscuro techniques to emphasize moral ambiguity and emotional conflict. The film makes effective use of close-ups to capture internal psychological states, a technique that was still relatively rare in Danish cinema at the time. The camera work shows careful composition and an understanding of visual metaphor, with architectural spaces often reflecting characters' emotional states. The contrast between opulent upper-class settings and humble working-class environments is rendered with visual clarity that reinforces the film's social commentary. The surviving footage reveals a mastery of visual storytelling that would become more pronounced in Dreyer's later works.

Innovations

The President demonstrated several technical achievements that were ahead of their time in 1919. Dreyer's use of multiple camera angles and varied shot lengths created a dynamic visual rhythm uncommon in Danish cinema of the period. The film's lighting techniques, particularly the use of shadow to suggest psychological states, represented a sophisticated understanding of cinematographic possibilities. The production design successfully created convincing period atmosphere within the constraints of early studio facilities. The editing shows a sophisticated understanding of narrative pacing and emotional rhythm. Perhaps most significantly, the film demonstrates an early mastery of the cinematic close-up as a tool for psychological revelation rather than mere spectacle. These technical innovations would influence the development of Scandinavian cinema and contribute to the international reputation of Danish film production.

Music

As a silent film, 'The President' would have been accompanied by live musical performance during its original theatrical run. Typical Danish cinemas of the era employed pianists or small orchestras to provide musical accompaniment, often using compiled scores rather than original compositions. The music would have been carefully synchronized with the film's emotional beats and dramatic moments. Modern restorations and screenings typically feature newly commissioned scores by contemporary composers specializing in silent film accompaniment. These modern scores often attempt to capture the film's psychological tension and moral complexity while respecting the historical context of the original period. The absence of recorded sound places greater emphasis on visual storytelling and acting, which Dreyer handles with remarkable sophistication.

Memorable Scenes

• The deathbed scene where the young man makes his fateful promise to his dying father, establishing the moral framework that will destroy multiple lives
• The passionate yet doomed love scenes between the aristocrat and the governess, filmed with remarkable intimacy for the period
• The courtroom sequence where the President realizes he is judging his own illegitimate daughter, captured through increasingly tight close-ups that emphasize his psychological torment
• The final confrontation between father and daughter, where social masks fall away to reveal raw human emotion beneath layers of convention and guilt

What Critics Said

Contemporary critics in 1919 recognized 'The President' as a significant artistic achievement, praising its sophisticated narrative structure and psychological depth. Danish newspapers noted Dreyer's distinctive directorial voice and his ability to extract nuanced performances from his cast. Critics particularly highlighted the film's moral complexity and its refusal to offer easy solutions to the ethical dilemmas it presented. Modern critics and film historians view the work as a remarkable debut, noting how it already contains seeds of Dreyer's later masterpieces. The film is now recognized as an important precursor to the psychological realism that would dominate European art cinema in the following decades. Recent restorations have allowed contemporary scholars to appreciate Dreyer's early mastery of visual storytelling and his innovative use of cinematic space.

What Audiences Thought

Initial audience reception in 1919 was mixed, with some viewers finding the film's moral complexity challenging compared to more straightforward melodramas of the era. However, educated audiences and the growing middle class appreciated the film's literary qualities and sophisticated approach to social issues. The controversial themes of illegitimacy and infanticide generated discussion and debate in Danish society. Over time, as Dreyer's reputation grew, the film gained retrospective appreciation among cinema enthusiasts. Modern audiences viewing restored versions often express surprise at the film's contemporary relevance and emotional power, particularly its critique of social hypocrisy. The film has found new life through screenings at classic film festivals and specialized cinema venues dedicated to preserving silent film heritage.

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