Quote:
Infused with a jazzy, nouvelle vague–inspired energy, Bo Widerberg’s feature debut has the freshness of youth. Building on his film criticism’s call for a socially relevant Swedish cinema, the writer turned director offers a vivid portrait of a young factory worker (Inger Taube) finding her way toward independence as she weathers unexpected pregnancy, learns hard lessons from relationships with two very different men, and leaves behind the only home she has ever known. Abetted by fellow filmmaker Jan Troell’s coolly beautiful monochrome cinematography, Widerberg takes a bold first step in his mission to create a cinema that is both engaged and engaging.

The.Baby.Carriage.1963.576p.Criterion.BDRip.FLAC.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 36 min
Size: 	2.19 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	2 898 kb/s
BPP: 	0.273
Audio
#1:  	Swedish 1.0ch FLAC @ 348 kb/s

https://nitro.download/view/27FEFA9179FCEF4/The.Baby.Carriage.1963.576p.Criterion.BDRip.FLAC.x264-KG.mkv

Language(s):Swedish
Subtitles:English, Russian, German, French, Spanish, Italian, Portuguese, Hungarian, Dutch, Greek, Danish, Norwegian, Swedish, Polish, Romanian, Finnish, Croatian, Czech

The post Bo Widerberg – Barnvagnen AKA The Baby Carriage (1963) first appeared on Cinema of the World.

I dreamed I saw Joe Hill last night. Alive as you or me. Says I, but Joe you’re ten years dead. I never died says he.

In the early 1900’s, the legendary Joe Hill emigrates with his brother to the United States. But after a short time, he loses touch with his brother. Joe gets a few jobs but is struck by all the injustice and tragedy going on. He becomes active in the forbidden union IWW, a union for workers without trades. It is forbidden to demonstrate and to speak in public but Joe gets around that by singing his manifests with the Salvation Army. He manages to get more and more people to get on strike with him but he also makes powerful enemies doing that. Finally he gets connected with a murder and during the trial he fires his lawyer and takes upon himself to become his own defender.

1.63GB | 1h 57mn | 953×572 | mkv

https://nitroflare.com/view/A1FDE92FA804DAA/Joe_Hill.mkv

Language(s):English, Swedish, Italian
Subtitles:English

The post Bo Widerberg – Joe Hill (1971) first appeared on Cinema of the World.

A count and a tightrope dancer fall madly in love, so much so that he deserts the army and his family to run away with her. Set to a Mozart concerto, this film was released in 1967 to rapturous critical acclaim and went on to win Best Actress Award at Cannes for its then 17-year old star, Pia Degermark.

1.39GB | 1 h 30 min | 978×572 | mkv

https://nitroflare.com/view/21F2149933ADF05/Elvira.Madigan.1967.DVDRIP.x264.AC3.KJNU.mkv
https://nitroflare.com/view/9C2B0E563402141/Elvira.Madigan.1967.DVDRIP.x264.AC3.KJNU.srt

Language(s):Swedish
Subtitles:English

The post Bo Widerberg – Elvira Madigan (1967) first appeared on Cinema of the World.

By Roger Ebert / March 20, 1972
The young man looks at the empty lives of the people living on his block, and writes an angry book about the way they’ve been treated. A publisher invites him to Stockholm to discuss the manuscript, but finally patronizes him: “There is a cry of rage here, but it is still inarticulate.” Sobbing with frustration, the young man tells a sympathetic neighbor girl: “Sometimes a cry is so loud it cannot be heard.” They make love that night, the girl becomes pregnant, and before long the young man believes that he has been trapped just as his parents were.

This is the simple stuff of “Raven’s End,” a film made in 1963 by Bo Widerberg, the Swedish director who went on to great success with “Elvira Madigan” and “Adalen ’31.” This is his best film and would have achieved distribution long ago were it not for the strange way we regard foreign directors. In 1963, a long time ago as movie history goes, Ingmar Bergman was just about the whole Swedish film industry as far as American distributors were concerned. “Raven’s End” was chosen for the Cannes and New York Film Festivals and then disappeared, apart from infrequent film society screenings. It didn’t open commercially in New York until 1970.
It has crept into Chicago for eight days only, as the inaugural premiere of the new Termite Theater in Piper’s Alley. The theater is well named, being hidden in the walls beyond the adjacent Aardvark theater, and containing only 88 seats. It is intended as a showcase for short runs of art films, and Jean-Luc Godard’s “Two or Three Things I Know About Her” opens next.
“Raven’s End” is set very convincingly in a working-class district in the north (sic) of Sweden during the late years of the 1930s when the Swedish Nazi party was trying to win power. The young man, who is very introspective and intense and reminds you somewhat of Thomas Wolfe’s Eugene Gant, lives with his parents in an apartment block. The father is a failure, and blames the social unacceptability of his wife and his own unlucky breaks. In fact, he is an idealistic but disorganized alcoholic with big, empty plans.

The development of the relationship between the three people is done as perceptively, skillfully and deeply as anything in this line apart from Eric Rohmer’s recent work. Widerberg has an incredible eye for details of dialog, and as the father describes his drunkenness (“the only thing I ever invented – the diving bell; I am inside and it is quiet and I am sinking, sinking. . . .”) we’re reminded of the alcoholic introspection in Frederick Exley’s great novel “A Fan’s Notes.”
The father fails at everything, even passing out handbills, but the mother hangs on and takes laundry, and cannot believe that her son would run out on a pregnant girl. He says he isn’t running from the girl, but from the doomed life he sees reaching out before him. She doesn’t understand, and maybe he doesn’t either. But he has to go. In the beer garden the night before, he asked his father for help and advice: “You’re only 39, Father, you can’t give up before you’re 40.” And the father only said he was sinking, sinking….

1.18GB | 1h 36mn | 768×576 | mkv

https://nitroflare.com/view/9DE00082B9F909A/Kvarteret.Korpen.AKA.Ravens.End.1963.DVDRip.x264.mkv

Language(s):Swedish
Subtitles:Swedish, English

The post Bo Widerberg – Kvarteret Korpen aka Raven’s End (1963) first appeared on Cinema of the World.

Bo Widerberg’s one and only comedy!

Young Roland wants to write. In desperate need for money, he takes job at an advertising agency. He ends up in a department that advertise cosmetics. He is commissioned to do market research of a new remedy for pimples.

1.46GB | 1 h 31 min | 858×572 | mkv

https://nitro.download/view/3EC88618E40A9B5/Heja.Roland.1966.DVDRip.x264-KG.mkv
http://nitroflare.com/view/E903DC2C7EA6B67/Heja.Roland.1966.DVDRip.x264-KG.en.srt

Language(s):Swedish
Subtitles:English,Swedish srt

The post Bo Widerberg – Heja Roland! AKA Come on, Roland! (1966) first appeared on Cinema of the World.

Quote:
Roy Andersson premiered his second feature-length film, “Giliap”, in 1975. The film is a marked departure from “A Swedish Love Story”, and that is no accident. Success brought pressure onto Andersson to make “A Swedish Love Story II”. But he didn’t want to be someone who churned out yet another film in the same spirit, and then one more… So he changed style drastically in “Giliap”. Andersson had great hopes for the film, but it found neither a public nor positive reviews. “Giliap” did, however, win a larger reception abroad, especially in France. Yet despite its meagre successes in Sweden, the film is interesting, not least aesthetically. For here one finds the first seeds of Andersson’s distinctive film style.
In “Giliap”, actor Thommy Berggren plays a wandering day-labourer who takes employment at the fading Hotel Busarewski. The hotel is run by a wheelchair-bound misanthrope who harshly deals out orders to his staff as he reminisces about Busarewski’s former golden days.
In this film Andersson introduces his social criticism in a more nuanced and stylised manner than before, and strikes a tone for his future work. The symbolism in the film is compelling; the powerlessness that the three main characters feel in their work and their living situations reflects a hopeless society in miniature. They are entirely trapped within a hierarchical order.
The French film critic Alain Remond gives a highly figurative description of Giliap’s dark societal portrait:
“Hotel Busarewski, with its birds of passage caught in the net, has the dimension and the power of a myth in which we recognise all who have lost, all who have been rejected from our affluent society, condemned to a banal despondency, and without refuge.”
Andersson himself says that “Giliap” is a political film, but that many have not understood it so. He means that one should be able to describe a political situation without resorting to red banners and slogans about the working class. That can well serve as an expression of the dialectic that Andersson still uses today when he seeks to introduce political questions in his films.
If Roy Andersson had high ambitions to capture moments of truth in “A Swedish Love Story”, he was even more ambitious in his work with “Giliap”. With this film the telephoto lens disappears to be replaced by the wide-angle image. Close-ups are increasingly replaced by full and half-shots, he begins to make use of deep focus, and the camera becomes much less mobile. Certain scenes are almost like tableaus…
“Giliap” was featured in the Certain Regard program in Cannes, 1977.

2.51GB | 2h 08m | 1280×720 | mkv

https://nitro.download/view/48632B2471CFA94/Giliap.1975.720p.Web.H264.Restored.mkv
https://nitro.download/view/3B1273D1E4F12D7/Giliap.1975.720p.Web.H264.Restored.en.srt

Language(s):Swedish
Subtitles:English

The post Roy Andersson – Giliap (1975) first appeared on Cinema of the World.