#Fröken Julie

[sflow-er]

Fröken Julie?

Terrible screenshot but the play shown next to Wille here is Fröken Julie by August Strindberg.

Cut for a summary of the plot/themes which I guess might count as a spoiler for YR S3.

Disclaimer: I haven't actually read or seen Fröken Julie, I just looked into it a bit online. So if anyone reading this has more insight, I'd love to hear your thoughts!

So, Fröken Julie is a story about an affair between a highborn girl (Julie) and an ambitious valet at her father's manor house (Jean), set on Midsummer Night. There's a power imbalance between them; first she has all the power, but as the play progresses, he figures out her weaknesses and exploits them. The story ends with Julie taking her own life after their plan to run away together and steal her father's money as a nest egg for the hotel Jean wants to start falls through. Oh, and Jean also has an existing fiancée among the staff, a cook called Kristin.

Strindberg wrote the play in 1888 as a tragedy about class warfare. His idea was that Julie, who dreamed of not being upper class anymore, represented the death of the aristocracy. Jean on the other hand represented an upward-mobile working class (ETA: he aspires to open his own business, which would make him bourgeois). Strindberg meant for it to be a social Darwinist piece where Julie and Jean were in a "survival of the fittest" against each other. There was also a "battle of the sexes" type of theme (Julie's portrayal seems rather misogynist based on my quick sweep and has been suspected to reflect Strindberg's own opinion on women, but apparently there have been some feminist readings as well).

I'm not sure what to make of it as a thematic hint here, except that I'm very sure it wouldn't be so prominently displayed in a trailer released so early if it was there to foreshadow an unhappy ending! Julie, Jean and their seemingly toxic affair definitely aren't apt parallels for Wilmon, so no worries there.

My guess is they're using the play to hint at a more general theme of class conflict and Wilmon's compatibility being called into question. Perhaps even Simon being wrongfully cast as a gold digger or as someone who just wants to take Wille down...

Anyway, just my two cents!

[addictivecontradiction]

Fröken Julie, 1951

[apicturespeaks]

Miss Julie, Alf Sjöberg

[scandinaviancinema]

Mikael Persbrandt and Marie Bonnevie in Fröken Julie: 100 år i Rampljuset (2006)

[vintage-sweden]

Swedish actress Anita Björk in the movie Fröken Julie (1951).

[novamilano1]

Of finding one's voice, of class divide, of journey towards revolution ? Young Royal analysis S3

I am back, much to my dismay even if the journey is also exhilarating. The limerence, the gut-wrenching obsession which were in check are ablaze with the S3 trailer !!! I am just so excited ! I am buzzing and I need to put it down in words etc.

My first Tumblr post, a few months ago (2 ?) was to talk about this insane amount of mental charge YR was taking rent-free in my head and my life and to ask about book references in YR. (Thanks for the answers even if in-between the countless rewatches of YR, I didn't take much time to read.)

So let's start anew with the S3 trailer. We all saw that in the library scene, just near Wilhelm's head, the cover of a book was subtly put, so to speak, in display even if it was in the background and even if the cover was blurred. Some undescripts yellow booklets are set aside so that we can see the cover of said book. So I tracked it down. Of course, it's a given. I am passionate about literature (though not versed at all in Scandinavian literature). It's the cover of Fröken Julie and Ett drömspel, by August Strindberg, a Swedish playwright. First Miss Julie (1888) paired with another play, A Dream play (1901). Both plays, with different means talk about (dixit wiki) class struggles, the journey to find one's voice, to navigate the tricky balance between the place assigned by society and by gender stereotypes, the struggle between obeying rules, following duty and be one's true self. Fröken Julie is about a forbidden love between an upper class woman who falls in love with a low-class servant. Both try to escape the boundaries, but the weight of the class-divided, patriarchal society is too heavy and the play hints at a final suicide as a way out. I don't think YR will end badly, Willmon will of course be endgame. But the struggles are real and painful.

Miss Julie's plot happens on Midsummer's eve. Stay tuned, I will make two other differents posts based on Midsummer, Young royals etc. What's your take on all this ?

Thank you @lisaambjorn-blog for giving us such a rich show, so many occasions to deepen our culture, to start a conversation on societal, political issues ! Young Royals Baby to quote Omar and of course, let's start a revolution !

[motionpicturelover]

Films I've watched in 2024.

(This list will be continously updated. For a masterpost of the previous two years, see this post.)

Click on the titles below to see the post.

1 -

January:

🎬 Barbie (2023) - Greta Gerwig

🎬 "Adjø solidaritet" (1985) - Wam & Vennerød

🎬 "Fröken April" (1958) - Göran Gentele

🎬 "Ansiktet" (1958) - Ingmar Bergman

🎬 "Kvinnors väntan" (1952) - Ingmar Bergman

🎬 "Det sjunde inseglet" (1957) - Ingmar Bergman

🎬 "Höstsonaten" (1978) - Ingmar Bergman

🎬 "Riten" (1969) - Ingmar Bergman

🎬 "Helmer og Sigurdson: Mareritt ved midtsommer" (1980) - Knut Andersen

🎬 "Ronja Rövardotter" (1984) - Tage Danielsson

🎬 "Efter repetitionen" (1984) - Ingmar Bergman

🎬 "Vargtimmen" (1968) - Ingmar Bergman

🎬 "Ocean's 8" (2018) - Gary Ross.

🎬 "Searching for Ingmar Bergman" (2018) - Margarethe von Trotta

🎬 "Skönheten och Odjuret" (1991) - Gary Trousdale and Kirk Wise"

🎬 "Seks personer søker en forfatter" (1992) - Pål Løkkeberg

🎬 "Helmer og Sigurdson: Septembermordet" (1980) - Nandor Hamza

🎬 "The Magic Flute" (1995) - Valeriy Ugarov

🎬 "Galgemannen" (1983) - Magne Bleness

🎬 "Making of Autumn Sonata" (1978) - Ingmar Bergman and Arne Carlsson

🎬 "Le fabuleux destin d'Amelie Poulain" (2001) - Jean-Pierre Jeunet

🎬 "Lån meg din kone" (1958) - Edith Carlmar

February:

🎬 "Drive" (2010) - Nicolas Winding Refn

🎬 "Blue Valentine" (2010) - Derek Cianfrance

🎬 "Helmer og Sigurdson: Spøkelsesbussen" (1980) - Pål Bang-Hansen

🎬 "The Breakfast Club" (1985) - John Hughes

🎬 "Carnal Knowledge" (1971) - Mike Nichols

March:

🎬 "The Making of the Producers Album" (2001)

🎬 "Harold and Maude" (1970) - Hal Ashby

🎬 "The Princess Bride" (1988) - Rob Reiner

🎬 "Twin Peaks: Fire Walk with Me" (1992) - David Lynch (The Extended Blue Rose fancut)

🎬 "Mødrekupé" (1969) - Magne Bleness

🎬 "Four Weddings and a Funeral" (1994) - Mike Newell

🎬 "Mrs. Harris Goes to Paris" (2022) - Anthony Fabian

🎬 "Bedknobs and Broomsticks" (1971) - Robert Stephenson

🎬 "Leve sitt liv" (1982) - Wam&Vennerød

🎬 "Line" (1961) - Nils Reinhardt Christensen

🎬 "Venner" (1960) - Tancred Ibsen

🎬 "Stimulantia" (1967)

April:

🎬 "ShakespeaRe-Told: The Taming of the Shrew" (2005) - David Richards

🎬 "Flash Gordon" (1980) - Mike Hodges

May:

🎬 "Soldat Bom" (1948) - Lars-Eric Kjellgren

🎬 "Tänk, om jag gifter mig med prästen" (1941) - Ivar Johansson

🎬 "Cruel Intentions" (1999) - Roger Kumble

🎬 "9 to 5" (1980) - Colin Higgins

🎬 "Larmar och gör sig till" (1997) - Ingmar Bergman

🎬 "Presumed Innocent" (1990) - Alan J. Pakula

🎬 "Bergman Island" (2004) - Marie Nyreröd

🎬 "I Bergmans regi" (2003) - Torbjörn Ehrnvall

🎬 "Saraband" (2003) - Ingmar Bergman

🎬 "Tystnad! Tagning! Trollflöjten!" (1975) - Katinka Faragó & Måns Reuterswärd

🎬 "Castaway" (1986) - Nicolas Roeg

🎬 "Lisztomania" (1975) - Ken Russell

🎬 "Alice in Wonderland" (1999) - Nick Willing

🎬 "America's Sweethearts" (2001) - Joe Roth

June:

🎬 "Valentino" (1977) - Ken Russell

🎬 "Georgy Girl" (1966) - Silvio Narizzano

🎬 "Thoroughly Modern Millie" (1967) - George Roy Hill

🎬 "Prêt‐à‐porter" (1994) - Robert Altman

July:

🎬 "La Piscine" (1969) - Jacques Deray

🎬 "Anna Lans" (1943) - Rune Carlsten

🎬 "The Turning Point" (1977) - Herbert Ross

🎬 "Ne réveillez pas un flic qui dort" (1988) - José Pinheiro

🎬 "Le Battant" (1980) - Alain Delon

🎬 "Wit" (2001) - Mike Nichols

🎬 "Plein Soleil" (1960) - René Clément

🎬 "The Girl on a Motorcycle" (1968) - Jack Cardiff

August:

🎬 "Die Hard With a Vengeance" (1995) - John McTiernan

🎬 "L'inconnue de Hong-Kong" (1963) - Jacques Poitrenaud

🎬 "Vingar kring fyren" (1938) - Ragnar Hyltén-Cavallius

🎬 "Women in Love" (1969) - Ken Russell

🎬 "John Gabriel Borkman" (1978) - Per Bronken

[stefankarlfanblog]

Stefán Karl's Cyrano De Bergerac being nominated for DV's cultural award for drama.

To learn more about the DV cultural awards or Menningarverðlaun DV, go here: https://is.wikipedia.org/wiki/Menningarver%C3%B0laun_DV

Article written for Dagblaðið Vísir - DV on the 13th of Feburary 2002, supervised by Silja Aðalsteinsdóttir: https://timarit.is/page/3027997?iabr=on#page/n11/mode/1up

I'll only be showcasing and translating Cyrano De Bergerac's nomination in the article.

Snippet from the cover of the newspaper:

DV Cultural Award 2002: Nominations in drama Pg. 11

Snippet from page 11:

DV-PHOTO BY HARI From Cyrano de Bergerac at the National Theatre Nominated for visual and audio performance.

Worked with an extremely sensitive and flammable topic in an interesting way. Set design, lighting and wonderful music enhanced and emphasized the dramatic events. The production has a strong overall impression and it is extremely fun to watch the performance of the youngest and oldest generation of Icelandic actors.

The rest of the article talks about another nomination for Miss Julie, known as Fröken Júlía in Iceland.

[spectaculardistractions]

From Georges Sadoul Paris, 10 December 1951 My dear Luis, I’ve been wanting to reply for six months now to your letter, as I was considerably moved by it. But at Easter, after finishing my tome of a book, I had an attack of lumbago and, after I recovered from that, an extreme case of fatigue lasted well into the summer. The truth is that I have been dragging myself around for six months now and am only a little improved after my return in November. I had an enormous backlog of work when I arrived back in Paris, where I had practically not set foot since April. You will know that your film was a monstrous success in Cannes. I saw it again and some of my reservations disappeared. However, the viewers were largely bemused, always, or almost always applauding at quite the wrong moments. For example: an ovation when the cop tells the mother: ‘it’s the parents’ fault, madam’. They thought that statement was a reflection of your own views, but I know it’s the opposite, because the character of the mother is truly chilling. On my second viewing, what moved me most was your tenderness towards your characters. But Pudovkin only needed to see The Young and the Damned once to understand it and to say as much in places like Pravda. I was too under the weather in April to be able to remember now precisely what he said in private, but it was basically that in a festival where the films from capitalist countries were generally dismal and dispiriting, your film (and the Italian films) introduced a sense of condemnation, a cry of rage, or in other words, hope. You will also have heard that The Young and the Damned has been a great success in Paris for two months now. I haven’t been to Studio Vendôme yet (the old Opéra cinema, Avenue de l’Opéra), but everyone tells me it is full every night. The cinema had been ‘dying’ for a long time and they tried to relaunch it with, amongst other things, that repulsive Swedish film, Fröken Julie (Grand Prix at Cannes), but with no luck. The Young and the Damned is a rejection of society. But what’s most important is that everyone tells me that people (high society people) are leaving ashamed. That doesn’t mean they understand it all, of course, but at least they’ve understood the essential. And they’re not just going to be entertained by the horror, like the Grand Guignol, which is what I feared initially. You may know that at first it was practically sponsored by Le Figaro (even more repugnant in 1951, if possible, than in 1930 in the days of Coty and The Golden Age); a ploy by the distributor of course. Still, The Young and the Damned did not have the impact Le Figaro expected, which is crucial. I was talking about you for hours yesterday with the Lotars, going over so many old and shared memories. They had been interviewed by little Pierre Kast, who wrote an article in Cahiers du cinéma (Lulu and Viñes will have sent it to you) full of memories of your friends, and in which you are represented, at the end of the day, as a Rimbaud who removed himself forever to an inaccessible Harar, or like a Gauguin who never wrote from Tahiti. Apart from the tendency to bury you definitively in ‘other places’, there is little to say about this ‘Search for Buñuel’. However, I really disliked the other Cahiers du cinéma article: the first one. I wrote a letter correcting Little Kast (in reference to the part where he referred to me without naming me). You’ll find a copy of my letter to Kast enclosed, as well as cuttings from my three articles on The Young and the Damned published in L’Humanité, Les Lettres françaises and L’Écran français. I expressed some reservations, as you’ll see, but it would have been worse if I’d written them the day after Studio 28 and before our (last) meeting on the Champs-Élysées (or even just after it). And I also believe that my reservations have faded (although they haven’t yet disappeared altogether). What irritated me most about Little Kast’s article was that he called into question and in the worst possible faith, what I had said about your three films in my Histoire du cinéma. Those three pages were difficult for me to write at the time. I made a real effort to put in them, in good faith, what I thought at the time (and what I’m sure you also thought), between 1927 and 1932. At that time, I think I was a witness, rather than an historian. Nevertheless, witnesses are often confused. If you think that at any point in those three pages I betrayed your principles, do please tell me. I could make corrections to future editions, or to the international editions that are underway. I’m very grateful for the magazines you sent me on Mexican cinema. They will be very useful for the next book I’m preparing (film from 1939 to 1952). But on a personal note, I should like you to keep your promise: to send me the photographs of the Vallée de Chevreuse from 1932. I so much loved the photo you took of poor Norma. I have no other photograph of Pierre Unik and you. If you can, please send me those negatives. I saw a still from your new film. The Lotars mentioned a letter you sent to the Viñes, they tell me you think it’s a very optimistic film. Bravo. And above all, I would be pleased (and here I think I speak on behalf of all your friends) if the success of The Young and the Damned would allow you to return to France. With your wife and children. You must tell your producer that The Young and the Damned would not have sold as well nor earned as much had you not come over to prepare its release (it’s true). And that its chances of winning the Grand Prix at Cannes would have been much higher if you had been at the Festival (even more true). For all these reasons, they must pay for your travel and an extended stay in Paris at the beginning of 1952, or when the Cannes festival is on. Until later. Impatiently awaiting your next film. My wife joins me in sending you our warmest regards and best wishes, Georges Sadoul 3 rue de Bretonvilliers PS I quoted from your letter in my response to Kast and in the article for L’Écran français. Please forgive me, although I’m sure you’ll bear me no ill-will for doing so. I can’t find L’Humanité, but I think Lulu and Ricardo will send it to you.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

[flaviogarden]

2023 62 2-mar-23 Senhorita Júlia

Fröken Julie Suecia 1951 Classico

[ofallingstar]

Miss Julie (1951)

[addictivecontradiction]

Fröken Julie, 1951

[rapturousrot]

Miss Julie (1951) dir. Alf Sjöberg

[leatherhearted]

Fröken Julie (1951, dir. Alf Sjöberg)

[solkatts-svenska]

Fröken Julie: Vokabulär (delar I och II)

spis (en) — stove

stekpanna (en) — frying pan

steka — to fry

bomull (en) — cotton

köksförkläde (ett) — kitchen apron

sporra (ett) — spur

galen — crazy

greve (en) — earl

loge (en) — dressing room

bli varse (någon/något) — to notice

förlovning (en) — engagement

bjuda ut till — to invite to

slå ut — disable, cancel, call off

besynnerlig — peculiar, odd

generad — embarrassed

släkting (en) — relative

kalabalik (en) — fuss, uproar

fästman (en) — fiancé

låtsa (att + clause/infinitive) — to pretend

kinkig — picky

Gud bevare X — God save X

smeksam — affectionate

lugga (någon) — pull someone’s hair

ömtålig — sensitive

återvända — to return

lukta — to smell

ta vara på — take care of

avundsjuk (på) — jealous (of)

emellertid — however, meanwhile

lova — to promise

spå — to foretell, to tell fortune

artig — polite

oförskämd — rude

bero på — to depend on

i synnerhet — in particular

klok — wise, sensible

nedlåtande — condescending

uppriktig — sincere

smickra — to flatter

överdriva — to exaggerate

blygsamhet (en) — modesty

veritabel — true, veritable

gnola — to hum, murmur