红花`.之歌

“Sang[

*en :O).m Den Eldröda Blomman” (/  “Song O*(/f T h??(e Scar,=le t Flo?)=?w@er” )/? was `\,a$ ` recent ($and remar :ka]-ble silent s
,urprise for th)% is *H!err Von the oe!uvr`e is ! an exc ;ellent He$r*\:-r Stiller silent film+*,_ tha=`*t this German @ count watched in a//] n+.ew !ly\ restor ed `a ?nd tinted copy.=* It c?$ombines t(^@he wel@ l@-k^nown aesthet[+ics, tech,nical imp
$/ro,vem-ent \%s an*`d artistic m/]eri%+ts f[.^or which( th](e N::ordic director w-as k+!,now*+n and]] pr`$@aised_] since those ea=rly s;ilent ti
mes till, _ to.day.  $ #@! @
 ]
; ?) % /The \;film %  te@l:-ls of t/$+@he merry and carefr[ ee!, l .o[\ve li, #fe +[+of] *!#young;\ Olof ( Her^r Lars H(#anson ) a wood$[(sm#an.., who during his search f=^or t rue l! ove, seduc)/:es many f `raule-!ins () just like t,/\his* German 
aris+tocra).%?t)(;… /w!ell, not exactly .because the purpose% of this[ Herr Vo*+]n’s  =sed(u( ctio!n o?+f rich(:^ fräulein*` he%iress=(es are t)(heir;_ grea`\t)[ ]: fortunes… ). He will suffer disappoin;`t- ^`ment and deception, all th;]ose`! problems that turn up )/in) any loving relationsh+i:;_p. ,.`!Fina/_lly he wil:l`; find responsibility /and maturi( ,ty, learning dur ]ing his particu\%*lar que$;st that hi]%s actions, #; alwa`, ys hav@e* conse@ quenc ,es in * differen/`*t degr`-ees t=o th_+(e /_people around him. [,Th+=is .^Herr/]; Von ^]can describe “Sangen Om…” as a kind of coming of age film, the: ;+special intro
spective !growt_*h toward* mat ?uri \ty of a free and_  easy youngster. : ^* (_ \#[
%(@ ?*+ As this
] German count sa*+i%@d$%
*befo;$re, the film displays Sti?ller’s characte?^r#;is#tic arti#st;%ic virtues. in t ^he first part -:.of th$^/e film, we can see% e ;@:lemen ts of/
comedy, no^=t exactl y like the co=medy\ of intrigues -)in
+ other St (iller fi lms, +but [humor$ of@ a mo-re ` che$er?)fu/l sort*-::, highlight$_i ng the self-inv` +olvement of ]=[our hero: . Olof ‘s fr,ivol+ous flirta()*tions w;it)#h the diff #-e] ren#t girls%^ eventuall .y t ur#_.n romanti[c and then turn i_nto dram!?a. \_There is? c?/onf_=_lict in the troub\led]/! re,:l_=\ationsh`i ;p between Olof and his fa t$her a: nd late_%r with the f`()?ather o@#_f ^$his belo [ved(., The beautiful and wil` d nat$_ura[,l landscap#es of Norrland a.*(nd northern Sweden le\n)d/ _ t]he tale a ce,.r
]tain -, power and is characterist\\ic of Herr Stiller’s other si+# lents where\ Nature e_@m?)erges )-]as an i\)@mportant \()ch? [aracter in the sto
r.+y. #T\,.his.\;? is#( str$ongly ref-+^lected throughout the film but es@$pe! -ciall `y du%*ring*; + %t)+)=$he frantic sce)* ne wherein Olo@f des/c\%#end.s into the troubled w :aters of a r]iver, a `%-beautiful! _ metaphor -+ f`or t,%h_e hards_,hips that o_ur _h`ero ha)s to`/! e-)ndure until he finds$ hims$$elf. -. `\`,  %%\
)
 ! [$ ,#;= ( \ “S,!angen Om Den@, Eldrö])da Blomman” #is a n ex?*ce^@ll*#ent, beautiful film,] a solid, technically #per_#fect an@d intricate p/rod+uc= $tion of 1919 ;]( t/(hat demo nstra=tes once? agai[].n the importance o]f Her [r Stiller `` for silent-. film h\-ist.or_*
y.