CJBx7 Poverty, loss, revenge, and man's inhumanity to man are the themes that propel director Victor Sjostrom's film TERJE VIGEN (1917) (listed here under its English title A MAN THERE WAS). Sjostrom portrays the title character in this adaptation of a poem by noted author Henrik Ibsen. Terje is a sailor who supports his small family in Norway. A blockade by the English navy causes Terje to undertake a dangerous voyage to get supplies for his family, but he is caught and imprisoned. When he learns of his family's death from starvation, he becomes a broken man. One day he comes unexpectedly face to face with the captain responsible for his imprisonment, as he and his family are caught in a violent storm. What choice will Terje Vigen make?The story is told in approximately one hour. Modern filmmakers could learn much from the economy and concision of these early features. The narrative is straightforward, simple and unadorned, with no padding or extraneous subplots, and the story is told most effectively. It uses title cards sparingly, and in a very interesting fashion. Lines from the original poem are displayed on the screen, then the action described in the lines takes place, and the viewer is able to follow from there. The actors do fine work in this film. Sjostrom proves to be a fine actor in the lead role, imbuing his character with dignity, sorrow, tenderness, anger, and many other emotions. The supporting cast is also effective, particularly Bergliot Husberg as Mrs. Vigen. The actors show restraint and naturalism in their parts, largely avoiding the tendency towards big melodramatic gestures that marked contemporary theatrical productions. Equally notable is the cinematography, which depicts both the beauty and the dangerous ferocity of the sea, as well as the starkness of the island landscapes. Sjostrom made very effective use of the Norwegian scenery, causing nature to become a character in its own right in the film. Tinting adds to the moody atmosphere. The camera is mostly stationary, according to the custom of the time, but the shots are very well composed, like paintings. In addition, the film is well edited, not allowing shots to go on longer than necessary. This film was definitely very moving and memorable. TERJE VIGEN is a compelling and concise tale of the effects of man's inhumanity to man, and of the dilemmas that individuals face when tempted to cast compassion aside. It is rendered effectively through succinct scripting, heartfelt and naturalistic acting, and artfully composed cinematography. It is definitely a masterpiece of silent cinema. SCORE: 10/10

a-cinema-history This is a faithful adaptation of the eponymous poem by Henrik Ibsen, and all inter-titles are quotations of Ibsen's original text. The film follows an innovative non chronological structure. In the brief opening scene, old grey-haired Terje Vigen is contemplating a stormy sea. It is followed by a long flash back showing his past life first with his wife and daughter, his trip to Denmark, his capture by the English, his life as prisoner in England, and finally his return home. There is even a flashback in the flashback when, while in jail, Terje Vigen remembers his wife and daughter. The last part starts with the same scene as the opening one, followed by the rescue of the British yacht. It is interrupted by a brief flashback when Terje Vigen realises the Captain of the yacht is the Englishman who had taken him prisoner. The most remarkable aspect of the film is the outdoor on-location filming on the coast and on small boats, which gives great authenticity to the action, in particular the very realistic chase and sinking of the dinghy in the middle of reefs. Editing is brisk, cross-cutting between views of the two boats and then between the English boat and Terje Vigen trying to escape by swimming underwater.See more and a link to the full film at: a-cinema-history.blogspot.com/2013/12

Martin Teller I've been wanting to see more Sjostrom, hoping for something on the level of PHANTOM CARRIAGE. Although this one has nothing but rave reviews on IMDb, it didn't grab me as much. A melodrama about a man driven mad by tragic misfortune and cruelty, but it's hard to feel too sorry for him because he really didn't have a very good plan. Maybe I'm being harsh, but despite a strong performance by Sjostrom I just wasn't emotionally invested enough to care that much about his troubles. However, technically it's very impressive for its time and features some stunning nautical cinematography and a haunting final image that serves as a strong counterpoint to the redemptive theme. You can also see Sjostrom's man vs. nature motif emerging, further developed in THE OUTLAW AND HIS WIFE and of course THE WIND.

tonstant viewer If this movie had been made in 1923, I'd have been more blasé, but for 1916 it's nothing short of miraculous.The open-air filming is smooth and well-executed. The emotional rawness is hit hard but never gets overheated. The acting is intense but does not stray into laughable "stagger-and-clutch." Dutiful fidelity to Ibsen's poem may cramp the subtitles, but never interferes with masterful story-telling in the film itself.There is one sequence, in which a launch from a British warship destroys a fisherman's rowboat and then attempts to hunt down the fisherman while he's swimming for his life underwater, that is an absolute classic that will live in your memory.This film is short, but very powerful, and worth going the extra mile to see.