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East Greenland and was directed by the German, Friedrich Dalsheim. Planned by the explorer as a tribute to the life and traditions of the icebound land he loved, the film was played entirely by the Angmagsalik Eskimos and no professional actors were used. The story told of the rivalry between two great hunters, Palo and Samo, for the girl Nartisha, and the whole film was shadowed by the menace of storm and icy water, and made vivid by its scenes of ice-bear hunts, kayak races, salmon catching, village feasting, and glimpses of the native children sunning themselves amongst the flowers of the short Greenland summer. It was a simple film of a kindly people, not greatly made, but lovingly^ George Schneevoigt's Fre dies (1936), produced by the Nordisk Film Company, also/based its appeal on the fascination of the northern landscape \ although here there was a much more fully-developed story. | The setting was a village in the white solitudes of Finland, groaning under the tyranny of a Czarist governor, and the story described how a young peasant, banished by the governor, crosses into Lapland and eventually, stirred by news of fresh persecutions, returns at the head of a revolutionary force to set his country free. The acting of Sten Lindgren, Gullmaj Norin and John Ekman was often over-emphatic, although it had an appealing candour. The chief merit of the film lay in the authentic scenes of Finnish and Lapp life and in the magnificent landscape photography. ) Nordisk produced a similar film, Lajla (1937), also directed by George Schheevoigt. The Swedish actress, Aino Taube, played the part of a foundling brought up in a Lapp village. Again the story introduced a note of artificiality but the treatment of the natural background gave the film a strong visual appeal.
Benjamin Christensen, who had returned to Denmark, resumed work with Nordisk Film. Skilsmissens Bern {Children of Divorce) (1939), a story with a strong note of social criticism, broke new ground for the Danish cinema — ground which was to be tilled resourcefully during the next ten years. He followed it with Barnet (The Child) (1940), based on Leek Fischer's play on the theme of abortion.
During the 'thirties the Danish Government had been taking a steadily increasing interest in film production. Since 1922 a licence to open a cinema in a township of more than 5,000 inhabitants had been obtainable only from the Ministry of Justice. No one could own more than one cinema and no foreign interest in film exhibition was permitted. In 1938 a new Cinema Act was passed which developed some of the unique aspects of the Danish cinema legislation. It gave to the licensee artistic as well as economic responsibility. The clause is worth noting: 'The licensee (the manager) shall attend to the management of the picture theatre in person and have the artistic responsibility for the same. In the choice of films the licensee shall take care that such films are exhibited as from a cultural and artistic point of view are the most valuable. He shall not be prevented by any agreement from deciding freely and independently on the repertoire of the theatre and the rest of the management'. Part of the exhibition hours could be reserved for showing Danish or foreign films of cultural or
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