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sees through her destiny. As the sun rises she is drawn like a moth to the flame, annihilated by her longing for purity'. As these comments suggest, there was nothing simple or obvious about Sjoberg's interpretation of the theme. If he lifted the drama out of its compact stage treatment with its three characters and single set, he ensured at the same time that the screen's extension of action and characterization would not weaken it or lessen its force. He maintained a judicious balance in the dual conflict between the decadent aristocrat and the confident menial, the unsatisfied neurotic girl and the handsome arrogant man; and, with a brilliant visual sense, he used the camera to move freely from present to past without breaking for a moment the urgent flow of the drama and always in illumination of the struggle. His collaboration with his camerman, Goran Strindberg, was both firm and fertile: shots were beautifully composed but always in the service of the director's purpose. As in all his films, Sjoberg showed exceptional understanding in the direction of his players: Anita Bjork, vital and intense as the capricious Julie, Ulf Palme, at once convincingly servile and magnificently arrogant as Jean, and Anders Henrikson as the Count, an aloof yet menacing figure. Miss Julie was a film to compare with the finest work from any country: it shared the premier award at the 195 1 Cannes Film Festival.
The movement was not limited to the major figures. Anders Henrikson followed Ett Brott with a series of films which underline his interest in psychological characterization. Fallet Ingegerd Bremssen (1942), with Sonja Wigert, described the struggle of a doctor to heal a woman from nervous shock. Tag 56 (1944) used the background of a railway community for a powerfully conceived triangle theme based on a play by Herbert Grevenius. His most remarkable film was Blod och Eld {Blood and Fire) (1945) which combined raw naturalism and religious mysticism in roughly equal parts. Henrikson, who acted in most of the films he directed, appeared as a Salvation Army Officer passing through a crisis of faith and the other characters included Army workers, petty criminals and prostitutes. It was drama in the raw and, in the early passages, the construction was crude. Henrikson's grasp on the theme tightened as the film developed and the restrained intensity of his own performance, as in other films, charged the theme with conviction. Among the most interesting of his other films were Asa Hanna (1946), the drama of a woman torn between the dictates of her conscience and loyalty to her husband, pictorially enriched by its beautiful natural setting; and Flickan fran Fjdllbyn (The Girl from the Mountain Village) (1948), adapted from Bernard Nordh's novel of the alternatives of emigration or starvation facing an isolated community in the north of Sweden: a film of solid human interest distinguished by the magnificent landscape photography of Bertil Palmgren.
Among the younger directors one of the most interesting is Hampe Faustman, whose sharply individual work is characterized by a strong vein of social consciousness. If most of the other Swedish directors have looked to France for inspiration, Faustman's eyes have undeniably turned eastwards. In a number of his films he
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