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Miss Julie (The Criterion Collection)
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SPECIAL EDITION FEATURES:
New, restored high-definition digital transfer
New video essay by film historian Peter Cowie
Archival television interview with director Alf Sjöberg
A 2006 television documentary about the play Miss Julie and author August Strindberg
New and improved English subtitle translation
PLUS: A booklet featuring new essays by film scholars Peter Matthews and Birgitta Steene
Like his protégé Ingmar Bergman, Sjöberg divided his time between stage and screen--the same as his theatrically trained leads. Though they remain fully clothed, suggestions of sado-masochism led American censors to ban the film in 1951. Shot by August's descendant, Göran Strindberg, the Cannes Grand Prize winner bears the otherworldly look of Bergman's The Magician combined with the hothouse atmosphere of Elia Kazan's A Streetcar named Desire. As Peter Cowie notes in the illuminating video essay, Strindberg's stormy marriage to a baroness inspired his masterpiece (not for nothing did he title his autobiography The Son of a Servant). In the booklet, Birgitta Steene puts the playwright's career in further perspective, while Peter Mathews does the honors for the director. The supplements conclude with a short Sjöberg interview from 1966, a moving made-for-TV documentary from 2006 (Miss Julie: 100 Years in the Limelight), and the US theatrical trailer. --Kathleen C. Fennessy
Top Customer Reviews
Films like "Fröken Julie" bring us back to the years when the movies were still created "in earnest" and watched not "for fun" or "for kicks" or to get thrilled or because of the "special effects" - but to feel empathy and to understand other human beings. Film is based on August Strindberg's play, which was written, like many of his works, to express his frustration and spite he felt towards women. While this attitude won't find too many open supporters today, it's difficult to deny Strindberg's work its seriousness and expressive power.
The film "Fröken Julie" is definitely a match to the play in every sense. It's very realistic, showing life in Sweden with love and knowledge of detail, but also - with uncompromising frankness. Strindberg play's burning misogyny is fully transferred to the screen. Countess Berta, miss Julie's mother (Lissi Alandh) is shown as a live monstrosity, destroying the life of her husband and making her daughter insecure, manipulative and cruel towards everybody and anybody.
Alf Sjöberg, the director, did not produce a commentary to the play, his approach was - to be true to the Strindberg's letter and spirit. The film was produced in 1951, and its influence on Bergman's "Wild Strawberries" (1957) is beyond doubt.
If you watch this film with the glasses of the actual society, you will find it something dated, but if you observe from another perspective, you will find interesting clues that may lead you to link the essence of the Existentialism (Think in Albert Camus The foreigner) and three outstanding films released after: Joseph Losey ` s The Servant, Bergman 's The silence and Bertolucci `s Last Tango based on Alberto Moravia.
It's a crime to arouse a passion only to satisfy a caprice.
Most Recent Customer Reviews
The portraits stand for what
When there's the fire
For Miss Julie's pride
For a father
Or a lover? Read more
I found the film very good., the lines from here to Bergman are quite obvious,, and the taste of Sweden and mid-summer together with Strindberg- perfect.
Growing up in Sweden, I was familiar with this story by August Strindberg. I have seen it as a ballet (probably on TV). Read morePublished 22 months ago by Karin Forsblad
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