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story included Unni Torkildsen and Hans Jacob Nilsen. Ibsen's Gjest Baardsen (1937) was a biography of Norway's nineteenth-century bandit-hero who, in the Robin Hood tradition, robbed the rich and gave to the poor. He continued to make films until the presence of the Germans in the country put an end to production. Among them were Torres Snbrtevold (1940), a comedy with a country setting, and Den Farlige Leken (1941), deriving in subject and style from the theatre.
During the war these and other Norwegian films achieved an immense popularity, due to the ban on British and American films and the natural desire of the Norwegians to hear their own language from the screen. After the liberation, film production was resumed on a larger scale than before. In the first films an attempt was made to dramatize the country's magnificent story of resistance. Vi vil Leve (1945), directed by Olav Dalgard, told a story which was to become familiar — resistance to the Nazis, arrest and questioning under torture, prison and escape to continue fighting. One of the sequences was filmed at the notorious Gestapo headquarters at Mollergaten 19 in Oslo. The sincerity of the film was obvious, but the lack of technical skill meant that it had less than its proper value on the screen. Englandsfarerne (1946) was an adaption of a true story by Sigurd Evensmoe, the sole survivor of a group of Norwegians, members of the underground movement, who planned escape to England in a fishing vessel and who were imprisoned and executed by the Gestapo. Toralf Sando gave this dream a sombre intensity, although its authenticity seemed somewhat laboured. The most ambitious film on a war theme was the outcome of Norwegian-French collaboration. Kampen om Tiingtvannet {The Battle for Heavy Water) (1947) was produced by Herofilm, Oslo, and Le Trident, Paris, and directed by Titus Wibe Muller. This film excitingly reconstructed the sabotage at the heavy water factory at Rjukan and the part Norway played in the race for the production of the first atomic bomb. Authentic in every detail, the film was played by the same saboteurs who, during the war, were dropped by parachute on the Hardanger plateau to carry out the operation. In reliving their experiences — the monotony of waiting, the heartbreaking frustration, the tension of the attack on the hydro-electric plant, and the successful destruction of the stocks of heavy water — they gave the film a tremendous power of reality. The direction of the outdoor sequences, brilliantly photographed, pursued the action with an epic sweep in which personal braveries and personal suffering were both subordinated and exalted in an outstandingly brave achievement.
The range of post-war production gradually widened. Nils Muller made Sd Motes vi Imorgen (To-morrow We Meet Again) (1947). on a theme familiar in countries which had known war and occupation. Toralf Sando directed St Hansfest (1947) on the midsummer eve festival and also a documentary, Vi Seller (1947), on the training of Norwegian sailors. Trollfossen (The Magic Falls) (1948) was directed by Alf Hansen, who made dramatic use of the huge hydro-electric power stations. Tancred Ibsen resumed direction and made Et Spokelse Forelsker
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