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Das Lied der roten Blume (1919) HD online

Das Lied der roten Blume (1919) HD online
Language: English
Category: Movie / Drama / Romance
Original Title: Sången om den eldröda blomman
Director: Mauritz Stiller
Writers: Tom Bret,Johannes Linnankoski
Released: 1919
Budget: SEK 180,000
Duration: 2h 25min
Video type: Movie
Olof is the restless son of a wealthy farmer. He meets Annikki and brings her to the evening dance. But at the dance he abandons Anniki for another girl, the maid Elli. Later that evening, the couple is surprised by Olof's mother. The next day, his father is angry about Olof being with a simple maid. After a violent quarrel Olof hits his father and therefore must leave his home.
Credited cast:
Lars Hanson Lars Hanson - Olof Koskela
Greta Almroth Greta Almroth - Annikki
Lillebil Ibsen Lillebil Ibsen - Elli (as Lillebil Christensen)
Louise Fahlman Louise Fahlman - Olof's Mother
Axel Hultman Axel Hultman - Olof's Father
John Ekman John Ekman - Log Driving Chief
Hjalmar Peters Hjalmar Peters - Kyllikki's Father
Edith Erastoff Edith Erastoff - Kyllikki
Nils Lundell Nils Lundell - Kyllikki's Fiance
Rest of cast listed alphabetically:
Doris Nelson Doris Nelson - Prostitute
Karl Persson Karl Persson - Lars Hanson's Double

Reviews: [2]

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    "Sangen Om Den Eldröda Blomman" ( "Song Of The Scarlet Flower" ) was a recent and remarkable silent surprise for this Herr Von; the oeuvre is an excellent Herr Stiller silent film that this German count watched in a newly restored and tinted copy. It combines the well-known aesthetics, technical improvements and artistic merits for which the Nordic director was known and praised since those early silent times till today.

    The film tells of the merry and carefree love life of young Olof ( Herr Lars Hanson ) a woodsman who during his search for true love, seduces many fauleins ( just like this German aristocrat… well, not exactly because the purpose of this Herr Von's seduction of rich fräulein heiresses are their great fortunes… ). He will suffer disappointment and deception, all those problems that turn up in any loving relationship. Finally he will find responsibility and maturity, learning during his particular quest that his actions always have consequences in different degrees to the people around him. This Herr Von can describe "Sangen Om…" as a kind of coming of age film, the special introspective growth toward maturity of a free and easy youngster.

    As this German count said before, the film displays Stiller's characteristic artistic virtues. ; in the first part of the film, we can see elements of comedy, not exactly like the comedy of intrigues in other Stiller films, but humor of a more cheerful sort, highlighting the self-involvement of our hero. Olof 's frivolous flirtations with the different girls eventually turn romantic and then turn into drama. There is conflict in the troubled relationship between Olof and his father and later with the father of his beloved. The beautiful and wild natural landscapes of Norrland and northern Sweden lend the tale a certain power and is characteristic of Herr Stiller's other silents where Nature emerges as an important character in the story. This is strongly reflected throughout the film but especially during the frantic scene wherein Olof descends into the troubled waters of a river, a beautiful metaphor for the hardships that our hero has to endure until he finds himself.

    "Sangen Om Den Eldröda Blomman" is an excellent, beautiful film, a solid, technically perfect and intricate production of 1919 that demonstrates once again the importance of Herr Stiller for silent film history.

    And now, if you'll allow me, I must temporarily take my leave because this German Count must return to Teutonic nature.

    Herr Graf Ferdinand Von Galitzien
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    This is not amongst my favourite Stiller films. The whimsical style of the curious 1905 Finnish (verse?) novel on which it is based, Laulu tulipunaisesta kukasta is more than a shade irritating although, it is true, that it makes a pleasant change in some ways from the rather over-substantial diet of Selma Lagerlof that formed the basis for so many Swedish films of the period. Nor do I find Lars Hanson at his best in these more manly role in which he was sometimes cast and for which he does not really have the "carrure". As with Cocteau and Jean Marais (who was however a more genuine cascadeur), one suspects Stiller was himself more than a little starry-eyed about his young star at this point in their respective careers.

    The narration in demi-detached chapters is too patchy to provide good continuity. In the distinctly dark sixth chapter, there is a fine scene where Olaf talks to himself in a mirror as though to his "double" (evidently influenced by the German classic Der Student von Prag) but, excellent though the scene is, one is not very clear on how one has arrived at that point. And the morality of the final chapter is, to say the least, odd.

    The compensation is the superb (as ever) cinematography of Henrik Jaenzon and the evocation of life amongst the river log-drivers. Had there been rather more of this and rather less of Hanson's romancing, it could have been a very good film....

    I shall leave this world where men are men with a touch of the equally whimsical style of Herr von Galtizen which we all know in love, in words graven on the hearts of every true Marxist*, that I shall now myself return to the closet where men are empty overcoats.

    *tendance Groucho, need I say.