Troll-Elgen

Critiques (en Allemand): «Here is the film that Norwegian critics and archivists generally consider to be Norway's finest silent film. It is easy to understand their enthusiasm: not only is it a fine showcase for lovely Norwegian landscapes, but it is a slick and polished production which, on a superficial lever at least, can be compared with Swedish and Hollywood production of the period. The camerawork is smooth, the editing slick and professional. Most of it takes place out of doors, and the few interiors seem to be authentic. The locations are fresh, and there are some interesting sequences shot around Oslo's railway station. The plot-line, though very simple, has a strongly Stroheimesque air to it, not only in the characters themselves, but also in the construction and use of coincidence. Some of the editing is quite sophisticated, and indicates a possible study of earlier Griffith and Stiller works, while Stroheim himself would have been delighted with the sequence where the lecherous uncle tries to force himself on Ingrid while they are riding on a fairground merrygoround, and are being whirled through the air in a pure-white swan boat!» (Quelle: The Theodore Huff Memorial Film Society, 7.2.1972)
Remarques géneraux (en Allemand): «Das skandinavische Kino hat in der Stummfilmzeit weltweite Achtung erfahren wegen seiner eindrucksvollen Einbeziehung der Natur in Geschichten von menschlicher Dramatik. Der Troll-Elch soll, einer alten Legende zufolge, die Inkarnation eines toten Menschen sein. Hans darf die schöne Ingrid, Tochter eines reichen Bauern, erst heiraten, wenn er den Geister-Elch getötet hat. Als Hans des Mordes an seinem Rivalen Gunnar beschuldigt wird, muß er in die Stadt fliehen und dort auf dem Jahrmarkt arbeiten.» (Stummfilmtage Bonn)

Bibliographie Stummfilmtage Bonn 2008, Katalog

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