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Laila

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Laila

Ranged across several generations, the story begins with a wealthy merchant, Lind, and his wife travelling in the coldest depths of winter to christen their baby daughter. Attacked by wolves, they lose the baby, which is found by the Lapp Jaampa (a dominating performance by Tryggve Larssen) and subsequently raised by a rich reindeer herder,

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Release : 1929
Rating : 7.5
Studio : Lunde Film, 
Crew : Cinematography,  Cinematography, 
Cast : Mona Mårtenson Peter Malberg Rasmus Christiansen Alice O'Fredericks
Genre : Drama Romance

Cast List

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Reviews

Clevercell
2018/08/30

Very disappointing...

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CheerupSilver
2018/08/30

Very Cool!!!

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Megamind
2018/08/30

To all those who have watched it: I hope you enjoyed it as much as I do.

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Erica Derrick
2018/08/30

By the time the dramatic fireworks start popping off, each one feels earned.

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Antonius Block
2017/11/29

You'll have to forgive Laila for its slow pace, which is a common enough problem for films of this era. Director George Schnéevoigt tends to draw scenes out in what seem like unnecessary ways, including holding the camera on his actors' faces for too many seconds as they emote, and the film should have been shorter than its 2 hour and 45 minute run time. However, if you can cope with that, this film has a lot of visual treats that make it well worth watching, and is fairly unique besides.Filmed in the Finnmark region of the extreme northeast part of Norway, 'Laila' deals with the cultural differences between the Lapps, the nomadic indigenous people who were primarily reindeer herders, and the Norwegians, who were primarily settlers and traders. At the center of the story is Laila (Mona Mårtenson), a young woman who was born Norwegian, but through a couple of tragic accidents, ends up being raised by Lapps. As she grows up, she's promised to her Lapp step-brother (Henry Gleditsch), but finds herself falling for a Norwegian (Harald Schwenzen) who turns out to be her cousin. Mårtenson is athletic and beautiful, and the two men in this love triangle are both rather dashing, which adds to the natural scenic beauty of their surroundings.While the story itself gets a little melodramatic at times, the best part of the film is how it transports us to this remote part of the world. We see packs of wolves bounding through deep snow, and large herds of majestic reindeer. We see reindeer being tamed, and pulling individual sleds and people on skis. The traditional apparel is fantastic – the hats, big furs, and the way babies were thoroughly wrapped up. The visual appearance of the older Lapp men (played by Tryggve Larssen and Peter Malberg) is striking, with their strong eyebrows and features. In one scene, a Lapp mother gives her two boys a hot bath, then turns them out naked to roll around in the snow. In others, Mårtenson gracefully pilots a canoe. With all of that and the beautiful snowy scenery, it's just a delight to watch.

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Michael Morrison
2015/11/23

Magnificent scenery, including lots of snow, superior acting, and moving camera by director George Schnéevoigt all make the involved story set in the frozen wastes of Scandinavia absolutely enthralling.Accompanied by a score (produced by the prolific Robert Israel) of piano reductions of music from Grieg, "Laila," as presented on Turner Classic Movies on 22 November 2015 -- remember we in California are hours behind most of these United States, the Eastern Time Zone of which saw it on Monday morning, 23 November -- presented a picture of a life so foreign to me, and probably most of us, that it could have been done badly and still be mesmerizing.Frozen wastes, reindeer, strange alphabet, ravenous wolves, life lived on skis, and funny-looking hats just made "Laila" all the more intriguing."Laila" is as good as and often better than any Hollywood production, and I am puzzled as to why we haven't seen more films from Norway.Above all, watch the marvelous bodily and facial expressions to see some superlative acting.Especially watch Mona Mårtenson in the title role: She is beautifully athletic as the Lapp girl, and she and the other three young adults in particular are very attractive besides.And Mona Mårtenson has one of the most expressive faces I have ever seen. She alone would make this movie worth watching again and again.To sum up, this is an extremely well done look at a culture so different, it is downright alien, but utterly fascinating. I very highly recommend "Laila," for frequent viewings.Two words recur you will want to research: "Finnmark" and "daro." When you understand them, watch "Laila" again with improved understanding

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FerdinandVonGalitzien
2011/05/27

The Danish silent film director Herr George Schnéevoigt had previous to his excellent oeuvre "Laila" (1929) a reputable career as a cinematographer, working in many early Herr Carl Theodor Dreyer silent films as well as in Herr Gunnar Sommerfeldt's "Markens Grode" (1921), another excellent Norwegian silent oeuvre. The latter is certainly very important in order to understand the magnificent and exquisite treatment of wild nature and the smooth dramatic intensity in "Laila".Filmed in varied and beautiful Norwegian places ( interiors were shot at Nordisk Film Company's Studio ) Herr Schnéevoigt drew on his experience as a cinematographer to reflect the cinematic and dramatic potential of Norwegian landscapes for his adaptation of the eponymous novel by Herr J. A. Friis. Laila is a young fraulein who, when her parents take her to be baptized in a distant town from home, is lost after her family is chased by wolves. Herr Jampa, a Lapp and servant of a wealthy reindeer owner Herr Lagje, finds the baby and thus she is raised as a Lapp.The tundra is the constant background in "Laila" determining the dramatic elements of the story as well the daily lives of the characters, combining thrilling sequences like the attack of the hungry wolves and the danger of deadly waterfalls. The Lapps live in a cold and hard environment but even there love thrives even though difficulties transpire when prejudice comes to the surface ( The Lapps are a racial and social minority within Norway ).In spite of the realism of the setting and the accurate depiction of the idiosyncrasies of the locals Herr Schnéevoigt is not constructing a documentary. "Laila" is fiction and tells a universal story, a "common" one about true feelings and love against a harsh background and a brilliant depiction of ancient cultures in the tundra. Herr Schnéevoigt brilliantly combines nature, ethnography and social prejudices to make a film with terrific cinematic power wherein adventure, romance and melodrama are given equal weight. The actors are inspired and perfectly suited to their roles as Lapps or Norwegians, two different and divergent cultures. At this point it is necessary to say this beautiful restored silent film was recently released in modernen disc format by the longhaired youngsters at "Flicker Alley" in collaboration with some Norwegian foundations. The disc includes a brand new piano score by Herr Robert Israel. Flicker Alley has made it possible for silent film fans around the world to enjoy what is one of the best Norwegian silent films ever made.And now, if you'll allow me, I must temporarily take my leave because this German Count must defrost himself.

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larswerme
2008/03/16

Not laden with the obvious and overstated national romanticism in the pictorial compositions as a few of its Norwegian contemporaries (most notably Rasmus Breistein's "Brudeferden i Hardanger", 1926), this film displays a certain freshness unusual for Norwegian films to date. Part of this fact is probably due to having a Dane direct in the relatively harsh conditions of northern Norway (mostly) during winter. Another factor is the very lively Mona Mårtensson as Laila, although she appears in the second half of the film, which is inferior to the first due to its rather melodramatic turn. Slipping at times into theatrical overacting, Mårtensson still mostly conveys the liberating, semi-naive and cut to the chase-attitude of Laila on the verge of adulthood torn between two cultures and mind sets: If one is to over-determine, the best of her performance is very liberating in the way it shows Laila as an improvising individual in her encounters with the Norwegians at the trading post, putting up the face of nomadic same culture penetrating and breaking the ice of the western European respectively. The editing of the film also serves up some (for is time, ontologically) very good disposing of the story, as we the viewers in some vital situations are held in suspense through a sort of reverse dramatical irony, not being told things in the right chronological order. The nature of this is not filmically complex, but it has a peculiar (unintended?) effect of enhancing the broader existential feel of the plot. As when the baby Laila's crib is first found empty, suggesting to us and the mother that she has been taken by the wolves, BEFORE we are told in a flashback who has really found her, which is of course STILL OBSCURE to the mother.As a final note, this film was recently screened at the Cinematheque in Oslo at its right speed of 16 fps., making it both comfortably realistic and a good 2 hours and 40 minutes long, which is certainly felt towards the end, when melodrama peaks. Note how the character Mellet disappears out of the film, slightly out of focus in the back of the picture, walking out of the frame behind the kissing couple. Very sad, and at the same time sort of reminiscent of the implications of Welles' much acclaimed depth-of-field revolution 12 years later...

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