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work. Brita i Grosshandlarhuset (Brita Comes to the Merchant's House) (1945) was based on class conflict and Dynamite (1947), the story of a bad boy who is frightened into reform when he nearly kills a man, pleaded for a more enlightened treatment of young offenders. His most ambitious film. Folket i Simldngsdalen (The People in the Valley) (1947), from the novel by Fredrik Strom, revealed the extent of his sympathy with the peasants among whom it was set.
This quality is present also in the work of Gosta Folke. The promise of Maria (1947), with its sympathetic picture of everyday life, was fulfilled in Pa dessa Skuldror (On These Shoulders) (1948). This firmly discarded the romantic conception of life in the country popularized in fiction and film and substituted a faithful picture whose fairness was recognized and appreciated. The drift of the people from decaying farmland into the factories and the towns and the transformation possible through machinery, electricity and new roads gave Folke the basis of his film and on this he built a moving human story.
Gosta Werner came to films by the unusual route of criticism. His first short production, Midvinterblot (1945), was an experiment in sound and picture which excitingly conveyed the mystic atmosphere of Stone Age blood sacrifices. His purpose here was more effectively realized than in his second short film Tdget (1946), where, using a train as a symbol, he visualized life as a journey. The unyielding realism of his material, however, made it difficult for him to realize his visionary aim. Werner's first long films, Gatan (The Street) (1948) and Tvd Trappor over Garden (Backyard) 1949), suggested that his work would continue on interesting experimental lines.
Several other directors were beginning to attract attention in 1951. Rolf Husberg had made Barncn frdn Frostmofjallet (1945), the story of the wanderings of a group of orphaned children in north Sweden, and Master detektiv en Blomkvist (1947), a detective story for children. After collaborating with various directors. Arne Mattson had made his first independent film, Rallare (1947), a story of the northward extension of the Swedish railway system some forty years ago to serve the iron-ore mines and link Lulea with Narvik. This vigorously handled film in which Victor Sjostrom appeared had something of the quality of a Western, with railway engines and tree-covered landscape in place of horses and plains. Gosta Stevens and Rune Lindstrom had made Jag dr med Eder (I am with Yon) (1947) on location in Southern Rhodesia, a largely documentary account of the work of the Swedish Church Missions.
Although the Swedish cinema has not been rich in comedy, it has produced in Nils Poppe a gifted clown whose style falls somewhere between Chaplin and Buster Keaton. He is the traditional little man, stepchild of fate, with an expression on his face of bewildered goodwill. He struck an individual style first in Pengar (Money) (1945), where he appeared as a penniless tramp who, while working with a gang of tough lumbermen, inherits a fortune. Poppe's treatment of the curse of gold had a satirical quality which, while it did not probe very deeply.
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