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Kornet er i Fare (The Corn is in Danger) which, while apparently dealing with the depredations of the corn weevil, was immediately accepted by the Danes as an allegory of the struggle against the Germans. Other films concerned precautions against air attack and civilian dangers which were partly a consequence of the withdrawal of the police.
Denmark emerged from the war with a thriving documentary movement, anxious to take advantage of the new freedom created by the withdrawal of the Germans. Trained under the cramping limitations of the occupation, the filmmakers were eager to help to solve some of the problems left by war. They made films about the training of young people who had grown up without the normal discipline of peace-time conditions, such as Theodor Christensen's Fremtidens Borgere (Citizens of the Future) and Gunnar Robert Hansen's film on apprenticeship. There were practical films with warnings about diphtheria and mines. And there were films such as Hollands Born (Children of Holland) which showed that even after five years of occupation the humanitarian impulse of the Danes was overwhelmingly strong.
During the war the work of the G.P.O. Film Unit had been a constant source of stimulus to the Danish documentary directors. Night Mail was shown so often that the copy was worn away. The links between the documentary movements in the two countries were strengthened by the appointment of Arthur Elton as production adviser. Out of this association emerged a series of films on the Danish social services, designed not for internal information but for overseas circulation. Most of the members of the movement were involved in the making of these films which, in addition to their value for students of social conditions, demonstrated the range and capacity of Danish documentary. Hagen Hasselbalch, Astrid HenningJensen, and Soren Melson collaborated in directing the longest film in the group, Denmark Grows Up, a broad picture of the public services provided by the State and local authorities, to protect the lives of Danish children from before birth until they leave school. Carl Dreyer assisted in making two of the films. Good Mothers was a new version of his Modrehjaelpen (1942). an account of the measures taken to protect the health of both married and unmarried mothers and their children through the Mother Help Organization. He also wrote the script of The Seventh Age, a film on the care of old people, and its simplicity and sincerity were admirably translated to the screen by Torben Svendsen. The other films in the series were People's Holiday, which celebrated the right of every working man and woman in Denmark to have a fortnight's holiday with pay, and Health for Denmark which described the country's system of Sick Clubs and Central and General Hospitals. Good humour and tolerance were two of the distinguishing characteristics of these films which carried their burden of information rather more lightly than their British counterparts.
With a relaxation of the first post-war urgency, the Danish documentary movement lost some of its confident sense of purpose. There was a tendency to be
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