In the Holy Land

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Movie
German title In the Holy Land
Original title Till Österland
Country of production Sweden
original language Swedish
Publishing year 1926
length 94 minutes
Rod
Director Gustaf Molander
script Ragnar Hyltén-Cavallius
Gustaf Molander based
on the novel Jerusalem by Selma Lagerlöf
production Oscar Hemberg
camera J. Julius
occupation

In the Holy Land , also known under the German secondary titles Die Erde ruft, Part 2 and Pilgrimage of the Heart , is a Swedish silent film from 1926. This final part of an opulent, four-part film saga (1918 to 1926) based on a novel by Selma Lagerlöf led Gustaf Molander .

action

After a long, arduous journey, the Swedes from Dalarna willing to emigrate have finally reached the destination of their dreams: Jerusalem. But many cannot cope with the hot climate that prevails there, and the locals are often anything but hospitable. While Ingmar stayed in Sweden with his Barbro, he was tormented by remorse. He knows that he did not behave decently towards Gertrud and that he dropped her for reasons that were not exactly honorable. He decides to go to Jerusalem.

His arrival in Jerusalem is sorely needed, as the emigrants there are already lethargy. Ingmar makes it clear to them that they have to cultivate the floors here in order to get their lives on their own, just as they did before in Sweden. A jolt is now going through the Swedish community. And finally, Ingmar brings Gertrude together with another new citizen of Jerusalem, compatriot Gabriel Mattsson. Then he returns to his Barbro, who will soon give him a parent.

Production notes

The film, made immediately after Ingmar's legacy in 1925, had its world premiere on February 1, 1926. The shooting took place u. a. in the British Mandate of Palestine , in Jaffa and Jerusalem . The film structures were in turn designed by Vilhelm Bryde .

Reviews

Reclam's film guide says about “In the Holy Land”: “The Swedish landscape is replaced by the exotic charm of distant lands. Molander shot in Jerusalem and cleverly used the foreign milieu as a contrast. Nevertheless, it does not achieve the strength and intensity of Victor Sjöström. "

Kay Weniger The large Personenlexikon of the film wrote in Molanders Biography: "As Sjostrom also referred Molander the landscape as a central part of the story, as an essential, dramatic element into the action with a".

Individual evidence

  1. ↑ Reclams Filmführer, by Dieter Krusche, collaboration: Jürgen Labenski. P. 129. Stuttgart 1973.
  2. ↑ Kay Less : The film's great personal dictionary . The actors, directors, cameramen, producers, composers, screenwriters, film architects, outfitters, costume designers, editors, sound engineers, make-up artists and special effects designers of the 20th century. Volume 5: L - N. Rudolf Lettinger - Lloyd Nolan. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 , p. 501.

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