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Fröken Julie 1951
Description: Based on the enjoy by August Strindberg, Miss Julie vividly depicts the war of the sexes and classes that ensues when Julie, a wealthy businessman's daughter, falls for Jean, her father's bitter servant.
Released: 30 Jul 1951 Director: Alf Sjöberg Writers: Alf Sjöberg, August Strindberg (play) Actors: Anita Björk, Ulf Palme, Märta Dorff, Lissi Alandh Genres: Drama, Romance
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Fröken Julie Reviews:

Some movies are so utterly faultless and brilliantly made that one is almost at a loss to search enough superlatives with which to praise them, and yet, at the same time hold it credible. MISS JULIE is one such film, and it seems entirely fitting that one of the best Swedish movies ever made could be based on the work of one of Sweden's best writers. Each single aspect of this movie is perfect; the black and white photography, the unbelievable musical score by Dag Wiren, the acting from all the cast, but in particular from Anita Bjork who sets a standard in testing Miss Julie that should hardly be bettered. The enjoy which provides the screenplay is of course devastating with the inexorable interplay between class and rank, and human desire and lust overlapping and intertwining, and too, the actually almost forgotten idea of "duty" and "honour". If you like films that create you think, eat away at your heart and memory long after you have seen them, then I cannot suggest MISS JULIE more highly. In the fifty years since it was made, its brilliance has not diminished one jot. A masterpiece and a movie to truly treasure.


Based on a well-known enjoy by August Strindberg, Alf Sjoberg's Miss Julie depicts the struggle for survival between classes and genders in late 19th century Sweden that leads to confusion and tragedy. Because of its frank portrayal of sex between a lower-class servant and an upper-class aristocrat, the enjoy was banned in Europe until 1906 and in Britain until 1939. It is highly regarded, however, as an necessary work in the literary category that became known as Naturalism. Compellingly played by Anita Bjork who fully captures her character's erratic willfulness, Miss Julie, the 25-year old daughter of Count Carl (Anders Henrikson) is estranged from the society in which she grew up and wars vs the restrictions placed on her because of her status.Julie is a rebel who treats social conventions of the time with disdain, though she still demands to be treated as a proper woman. Having recently broken up with her fiancé (Kurt-Olof Sundström) after what would actually be named an S&M incident in which she literally makes him jump through hoops like a trained dog, she is launch for sexual adventure. The journey she finds takes the form of the handsome butler Jean (Ulf Palme) whom she seduces following the drunken revelries celebrating Midsummer Eve, a pagan ritual. It is an act which, though only mildly reprehensible today, was viewed as depraved in Strindberg's time and led to the author's characterization of Julie as being "sick".Although Jean is engaged to the cook, Christine (Marta Dorff), neither Jean nor his fiancé object because they see the act as an honor due to Julie's social position. The seduction, however, leads to her loss of respect from the servants as well as the loss of her own self respect. To escape from their untenable situation, the two lovers talk about leaving on the next train to Switzerland where Jean fantasizes about owning a hotel but the tangled web they have woven leads to unforeseen consequences.One of the highlights of the movie for me was the seamless inter-mixing of dream intervals and flashbacks from childhood. In her dream, Miss Julie is high up on a ledge or mountain. She can no longer keep on but lacks the courage to come down, though she has a longing to fall. Jean, on the another hand, wants to climb a high tree but is unable to reach the top. In flashbacks, Miss Julie recalls how her mother Berta (Lissi Alandh) saw herself as a feminist who was opposed to marriage and only wanted to be the count's mistress. When she gave birth to a daughter, she exacted her revenge by raising the woman as a man and carrying on different misdeeds until the estate went bankrupt.Despite its anachronistic and morbid social outlook, Sjoberg's Miss Julie is not a grim experience. The director lightens it up considerably with country scenes of folk dancing, horseback riding, and rowing, all in an idyllic setting, beautifully photographed by Goran Strindberg. Though it reflects Strindberg's distorted view of girls as hysterics, Miss Julie is a magnificent movie and a treat for the senses, both visually superb and wonderfully performed. It has a well-deserved reputation as being one of the best Swedish movies of all time.


Alj Sjoberg's Miss Julie is superior film-making to the kinds of expected adaptations of iconoclastic plays one might usually see. This Miss Julie moves, when at its best, like a true MOTION PICTURE (not to overstate it, just to place the words in bold), where Sjoberg's camera moves in quick and smooth, transfers between show and past with one easy sweep (this part seems the most influential in future post-modern films), and combining music, lush outdoor territories (it IS midsummer night after all) and acting that's fit for the screen just as much as for the scene if not more-so. Reading the enjoy years ago, I was struck by how it would be difficult to translate this past the one-room setting, where Julie and Jean confront and have the wild chance of leaving everything to possibility and becoming lovers elsewhere. This was the situation with the 1999 adaptation- a respectable but unremarkable turn- but in this much older situation it's a sweeping saga of romance plagued by class distinctions and just plain old childhood issues still sticking their claws into show affairs. It's surprisingly new in its old-fashioned sense.At first it looks like Sjoberg should be deviating from the bulk of the tone of the Strindberg enjoy and begin to create a much livelier ver of the material (how that should really be *done* I can't say), with the horde of folks dancing and rollicking in frivolity like it's the last days before the fresh century. But it's a very wise transport of contrast: while all the townspeople and others among the Count's lot go into a delirious frenzy here there and everywhere, there's Julie and Jean all abound in their neuroses and dangers of new-found existential connection. While Sjoberg doesn't have much problem in translating the tone of the primary material- of the difference between rich and terrible struck away by the desire to just see these two talk like human beings, warts and all, without the confines of their set territories and alignment with those they could be with (Jean with Ingrid, Julie with King knows whom)- the trick Sjoberg had was with his style and casting.On both fronts, as luck would have it, he has it made. Anita Bjork is an perfect Julie, and the actor testing Jean is also wonderful at displaying an apt trait of showing off as at times being sincere and not sincere, confusing and riling up terrible dear Julie, taught from her youth to hate and be wary of boys by her hateful mother. Even tiny parts that might have been left shorter run in the original enjoy are given further depth, Luke Julie's father, who's seen as something of a conflicted hero as a boy in power who ends up being much more caring (up to a specific mission of incident) than her mother. As for the style, as aforementioned, it's often breathtaking; sequences like the young Jean running away from the lot of adults after him for stealing is shot, edited and composed like something not quite of the early 1950s. If it's a tiny dated here and there it could be expected, but Miss Julie is a delicious exercise in the unimaginable: an adaptation that lives up to the controversial and exciting spirit of the source.



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