Word: strindbergism
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...grand prize" is likely to met a jaded response. This accolade, which Miss Julie won at Cannes in 1951, however, rightly draws attention to a film which has received far less notice in this country than it deserves. The distinction of Miss Julie is not its evocation of Strindberg's somber drama, but an artistry in direction and camera-work which makes the film something of a technical masterpiece...
Miss Julie displays far more effectively the genius of director Alf Sjoberg than that of Strindberg, for the visual effects threaten to swallow the story itself. Although the script changes barley a line of the play, the film projects the drama on an infinitely broader canvas, interpolating speeches with artful flashbacks. As a result, Miss Julie dispels much of the tautness and unity of the play and frequently accentuates its dated melodrama. Whether a less imaginative transcription of Miss Julie would hold much interest for modern audiences is questionable, however. The place of Strindberg's picture of tormented souls...
...black-bordered photograph, lighted candles, and the strains of Chopin's funeral march. Although the symbolism throughout the film is elementary, however, each scene has the careful composition of a painting. As a result, Miss Julie has a visual eloquence far more moving than the stilted themes of Strindberg's plot...
...when he lived at Jimmy the Priest's saloon in Manhattan and slept on the hickory-topped tables, too broke to pay $3 a month for a room. At 24, hospitalized with a mild case of tuberculosis, he began to think about writing plays. Primed on Ibsen and Strindberg, he enrolled in Professor George Pierce Baker's famed 47-Workshop at Harvard. His first published play, The Web, was set in a squalid boardinghouse. Its three main characters (not counting an illegitimate baby in the cradle) were a prostitute, a pimp and a murderer. The play...
...August Strindberg...