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his approach to film expression was. He followed these films with Resan Bort (The Journey Out) (1945), a tightly constructed story of cowardice and its consequences which revealed both his brilliant direction of actors — Gunn Wallgren, Holger Lowenadler, Maj-Britt Nilsson — and also his feeling for pictorial composition. His next film, Iris och Lojtnantshjartd (1946), adapted from a novel by Olle Hedberg, was a delicately conceived study in atmosphere: young love in the persons of a Guards officer and a servant girl struggling against the opposition of a wealthy autocratic class. Helped by the subtly responsive performances of Mai Zetterling and Alf Kjellin, Sjoberg gave his film a perceptive sincerity. After three years in the theatre, Sjoberg returned to the cinema again to make Bara en Mor {Only a Mother) (1949), adapted from a novel by Ivar LoJohansson who collaborated in writing the script. In this story of the hard life of the farm workers in Sweden, before their lot was improved by the introduction of overdue reforms and protective laws, Sjoberg broke new ground. His story of an innocent uncomprehending woman and her instinctive struggle for happiness against forces she resists but cannot overcome had a deep moral and social significance. In Eva Dahlbeck he found a young actress capable both of the lyrical moments at the opening of the film, when the young girl wears the bloom of love and of the deeplymoving passage at the end, in which the last thoughts of the weary farm worker's wife are for the happiness of her children. In its treatment as well as in its theme, Bara en Mor showed that Sjoberg was thinking creatively about his medium. Describing the technique of 'simultaneity of scene' used in the film he has written: 'In the early part of the film the leading actress is kept in the centre of the picture and her surroundings are changed. She moves as in a dream. She has no contact with reality, until her character is changed later by another disappointment. At this point the picture technique changes and becomes naked, hard and real.' These and other ideas of Sjoberg show that he is only at the beginning of his experiments in film expression.
Sjoberg gave further proof of his creative imagination as a film-maker in Froken Julie (Miss Julie) (1950) which can be regarded as the outstanding achievement of the Swedish film revival. This adaptation of the Strindberg play was a highly individual work which richly reflected both Sjoberg 's understanding of the dramatist's purpose and his passionate belief in the capacity of the cinema to give it fresh and independent expression. He saw Strindberg 's drama as a study in antithesis, a clash between two worlds: Julie, symbol of feudal aristocracy, on the downward path to destruction, and Jean, the serf, climbing upwards. He set the drama against the background of Midsummer Eve in Scandinavia, traditionally a time of vigil and festivity when, in the bewildering kaleidoscope of the night, all boundaries are blurred. 'If Strindberg in the drama', Sjoberg wrote, 'wanted to portray the law of the jungle and the survival of the fittest — Jean — he was drawn unconsciously to Julie. As the drama unfolds, she appears more and more as the representative of innocently suffering mankind. With tragic clear-sightedness she
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