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SWEDISH FILM IN DECLINE
THE decline of the Swedish cinema was, of course, a gradual process, in which economic and creative factors were intermingled. Although the directors who remained in Sweden lacked the stature of Sjostrom and Stiller, several of them produced notable work. The most considerable figure, often linked with the major directors, was John W. Brunius. In 1919 he directed Puss in Boots and a poetic version of Bjornson's Fairy of Solbakken, before embarking on the series of historical films with which his name is generally associated: The Gay Knight, The Burning Mill and the spectacular Charles XII. In 1923 he went to Helsingfors to make Johan Ulfstjerna, from Tor Hedberg's story about the struggle of the Finns against the Russians. Brunius could work effectively on a large canvas. His Finnish film included such scenes of mass movement as the riotous crowds milling in the Senate Square in Helsingfors, their retreat up the steps of the Nikolaj Church before the charging Cossacks, and their silent tribute when the bound Ulfstjerna is led from the Governor's palace. Inside the studio Brunius was less successful; but his boldly handled historical spectacles made a contribution to the Swedish cinema which was noted with respect abroad. Ivan Hedqvist, who played a leading part in Johan Ulfstjerna and appeared in other productions, also directed a number of films. Dunungen (1919) was adapted from a play by Selma Lagerlof and the following year he directed and appeared in Carolina Rediviva. His Vallfatren till Kevlaar (1921), which Ragnar HyltenCavallius adapted from a theme by Heinrich Heine, had a poetic mysticism which left a deep impression.
Gustaf Molander, who had worked closely with Sjostrom and Stiller, began to direct films and quickly showed that he was something more than an apt pupil. His Malarpirater (1923), adapted from a comedy by Sigfrid Siwertz, was a fresh and spontaneous piece of work with some pleasant acting by Einar Hansson and Inga Tidblad. He also directed two further films in Selma Lagerlof's 'Jerusalem' series, Ingmarsarvet (1925) and Till Osterland (1926). These films, in which Lars
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