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menacing sounds issuing from their black depths. En Kluven Vdrld {A Divided World) (1948) was an unforgettably vivid glimpse into the dark cold of a winter's night in the Swedish forest: a film which, for those with eyes to see, was accepted as 'a study of our own time's structure, executed in a series of cruel allegories. an idea film with visionary power'. Sucksdorff retained his style and skill when he moved from the animal to the human world. In Mdnniskor i Stad [People in the City) (1946) his camera moved as freely and fluently through Stockholm as it had done in the forest, resting on a group of children here, an old fisherman there, contemplative rather than analytical. As Symphony of a City the film was awarded the 1948 Award for Short Subjects by the American Academy of Motion Picture Arts and Sciences. SucksdorfT's later films, including Uppbrott (1948). an impression of a gypsy camp's night of celebration before moving on. and Strandhugg (1949). made among the sun-worshippers on Sweden's west coast, suggest that he may have deserted the animal world he has explored so memorablv.
In 1950 Sucksdorff visited India and the following year completed two short films: The Wind and tjie River, a characteristic piece of lyrical impressionism, set Kashmir; and Indian Village, a more penetrating work depicting the struggle between the old and new in India and embodying a plea for more education to lessen the handicap of illiteracy.
Although there is little Government-sponsored film-making in Sweden, production of short films is on a considerable scale, both for the cinemas and for the schools. Prince Vilhelm has made a series of films in which he has patiently built up a pattern of Swedish life. The production of short films rose to a peak in the 'thirties — between fifty and sixty a year — but with the increased length of feature films this number has been somewhat reduced. Svensk Filmindustri founded a department for the production of school films as early as 1921 and, without Government assistance, has continued this work on a generous scale. More recently Europa Film has also begun to produce school films.
For a comparatively small country, Sweden's output of films is high — between thirty and forty a year. Since the effective circulation of the films is limited to Scandinavia and the Swedish communities in the United States, this output can be maintained only by the most stringent control of production costs. The average cost is between £20.000 and £30.000, which seems a tiny sum in comparison with Hollywood or London budgets. To achieve this means careful advance planning, reasonable salaries, exterior shooting during the months of stable summer weather, and a much faster tempo in interior shooting than is normal, at least in British studios. Location shooting, often for key sequences in a film, has become so common a practice in the cities that the appearance of a camera unit in the streets arouses little comment. In addition to the economies it effects, exterior shooting adds to many films the interest of locale. In the studios there is no impression of too many people doing too little too slowly. The units are smaller, the control of the unions appears to be less rigid, and there is a general
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