{"id":78187,"date":"2024-06-13T11:00:26","date_gmt":"2024-06-13T09:00:26","guid":{"rendered":"https:\/\/ilcinemaritrovato.it\/?p=78187"},"modified":"2024-06-12T20:57:56","modified_gmt":"2024-06-12T18:57:56","slug":"gustaf-molander-il-regista-delle-attrici","status":"publish","type":"post","link":"https:\/\/ilcinemaritrovato.it\/en\/gustaf-molander-il-regista-delle-attrici\/","title":{"rendered":"Gustaf Molander, the actresses’ director"},"content":{"rendered":"

Gustaf Molander made almost 70 films in a career that lasted more than half a century (1917-1968), and his trajectory as a director is parallel to that of the development of the Swedish film industry. He wrote the script to\u00a0Terje Vigen\u00a0<\/em>(Victor Sj\u00f6str\u00f6m, 1917), which was the starting point of the golden Age of Swedish silent cinema, and he directed the era\u2019s epilogue with the Selma Lagerl\u00f6f adaptations\u00a0Ingmarsarvet\u00a0<\/em>(1925) and its sequel\u00a0Till \u00d6sterland\u00a0<\/em>(1926). He was one of very few Swedish directors, who handled the transition to sound successfully, as proven by\u00a0En natt\u00a0<\/em>(1931) and\u00a0En kvinnas ansikte\u00a0<\/em>(1938), the latter arguably the best Swedish film of the 1930s. During the 1940s, more than any other Swedish filmmaker, he made films that reflected the war and its aftermath, and after collaborations with a young Ingmar Bergman, including\u00a0Kvinna utan ansikte\u00a0<\/em>(1947), in the 1950s Molander made remakes of classic silent films in colour and CinemaScope, as a response to the advent of television. Molander\u2019s last film,\u00a0Smycket<\/em>, is the best episode in the 1967 omnibus film\u00a0Stimulantia<\/em>.
\nMolander was active in many genres, making slapstick and screwball comedies, as well as dramas, period pieces and films for children and young people. He worked with several of the finest cinematographers \u2013 Julius Jaenzon, Gunnar Fischer and most of all \u00c5ke Dahlquist \u2013 and his adaptations of literary works by Lagerl\u00f6f and Kaj Munk (Ordet<\/em>, 1943) are among his best films.
\nBut more than anything else, Molander was an actors\u2019 director, and in particular an actresses\u2019 director. He launched Ingrid Bergman to stardom, and the six films they made together in the 1930s paved the way for her international career. He used the comic talents of Eva Dahlbeck in\u00a0F\u00e4stm\u00f6 uthyres\u00a0<\/em>(1950) several years before her similar parts in Ingmar Bergman\u2019s comedies, and he cast Harriet Andersson as a working-class teenager in\u00a0Trots\u00a0<\/em>(1952), a year before her similar role in\u00a0Summer with Monika<\/em>. Other actresses with whom Molander worked at a very early stage in their career include Gunn W\u00e5llgren, Inga Landgr\u00e9, Anita Bj\u00f6rk, Ingrid Thulin and Gunnel Lindblom.
\nSuch a long career obviously had its ups and downs, but Molander created great works in each decade during half a century. If one also includes his days as a scriptwriter in the 1910s, we contemplate a career that produced works of lasting importance across six decades: a scope that is rivalled only by a handful of filmmakers such as Fritz Lang and Alfred Hitchcock.
\nThe selection for this programme covers a wide range of genres and eras in Molander\u2019s\u00a0\u0153uvre<\/em>, and all the films come from the Archival Film Collections of the Svenska Filminstitutet. They are all either 35mm prints made in contact printing from original or preservation negatives, or recent digital restorations (Jon Wengstr\u00f6m).<\/p>\n

Curated by\u00a0Jon Wengstr\u00f6m<\/strong><\/p>\n

Discover the film selection<\/strong><\/a><\/p>","protected":false},"excerpt":{"rendered":"

Sorry, this entry is only available in Italiano.In oltre mezzo secolo di carriera (1917-1968) Gustaf Molander realizz\u00f2 quasi settanta film, e la sua parabola di regista \u00e8 parallela a quella dell\u2019industria cinematografica svedese. Segn\u00f2 l\u2019inizio dell\u2019Et\u00e0 dell\u2019oro del muto svedese scrivendo la sceneggiatura di\u00a0Terje Vigen\u00a0(C\u2019era un uomo, Victor Sj\u00f6str\u00f6m, 1917), e ne firm\u00f2 l\u2019epilogo con\u00a0Ingmarsarvet\u00a0(1925) […]<\/p>\n","protected":false},"author":3,"featured_media":78188,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1336],"tags":[],"class_list":["post-78187","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/78187","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/comments?post=78187"}],"version-history":[{"count":2,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/78187\/revisions"}],"predecessor-version":[{"id":78194,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/78187\/revisions\/78194"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media\/78188"}],"wp:attachment":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media?parent=78187"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/categories?post=78187"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/tags?post=78187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}