Willie Nelson is a country singer on the road caught in a romantic triangle with Dyan Cannon and Amy Irving, the daughter of one of his longtime musical sidekick.

Martin is married to Frida and together they have a son. One day after a quarrel with his wife, he goes to buy flowers to ask for forgiveness. In the flower shop he meets the beautiful Rut and falls instantly in love. They both start a passionate love affair but beneath the beautiful surface hides a completely different woman than he expected ...

A masterpiece of comic cinema that shows how the medium can transform and distort, as well as record, reality. Swedish cinema in the period 1917-21 was arguably the most sophisticated in the world, its major figure being the actor-director Victor Sjostrom, whose magnificently downbeat films combined literary adaptation, action, melodrama and astonishing natural backdrops. There are some of us, however, who prefer comedy to action melodramas, Lubitsch to Ford, and for this we turn to Sjostrom's contemporary, Mauritz Stiller, unfairly relegated in history to 'The Man Who Discovered Greta Garbo'.
'Thomas Graal's Best Film' is one of the best comedies of the silent era. It works as an adorable romantic comedy about a concupiscent novelist who falls for his secretary; as a startling social tract, with the dessicated aristocracy giving onto the modern world of cinema, entrepreneurs and the New Woman; as one of the first films about filmmaking - there is an exquisite parody of Griffith's monumental 'Intolerance', as the actor playing a hanged criminal complains about the pain of being hoist from a ceiling.
As early as 1917, before Hollywood was even heard of, we meet the philistine mogul hurling scripts into a wastepaper basket; the hysterical director; the overwrought, melodramatic actors. There is a wonderful scene where Bessie on horseback sees a man attacking a woman on a country road; coming cracking her whip to the rescue, she notices that a film crew are standing beside the roadside; she has mistaken fantasy for reality. This is the film's main theme, and the longest sequence features the title hero writing a screenplay after his mauling Bessie has forced her to flee; he imagines a desperate background of poverty for her from which he rescues her - this is the Best Film of the title.
Stiller's movie shows a thrilling modernity in this sequence as it blurs not only the reality of Graal's writing and the fantasy he imagines, but also intrudes Bessie's own story: she disrupts his narrative just as she disrupts all the forces of (male) power that would try to pin her down. Bessie is one of the great heroines of silent film, permanantly amused by the absurd complacency of the inferiors surrounding her, with a gorgeous, generous grin suggesting both a taste for playfulness, and a voracious sexual appetite. The scene where she flees her father and ritualistically forces him to abandon his paternalistic intentions by destroying the bridge between them is hilarious but provocative.
Graal's screenplay is not merely amusing for the gap between his assumptions and the actual truth. The imagined scene where the aristocratic parents become peasants, the father violent and drunk is subversive in itself (gentry reduced to peasants), but is also an apt metaphor for the patriarchal assumptions of the aristocracy.
Another aspect of the film's modernity is its narration, expressed through intertitles, sarcastic at the expense of the characters, suggesting melodramatic attitudes appropriate to the plot, than showing a very different reality (eg the despairing lover Graal sunbathing merrily on a country lake). There is a ritualistic sexual content (eg the scene in the boat where Graal blows on the window), and a willingness to sidetrack on 'irrelevant' bits (eg the cigarette tricks) that also excite the viewer; while the Surreal/Magritte/Feuillade-like abduction scene, fragmented and seemingly arbitrary, where bowler-hatted servants wait to pounce on Bessie, is spooky.
What makes 'Thomas Graal' a true classic though, and nearer to Sjostrom (who is terrific, his overacting more suited to comedy than drama), is the way the defiant artifice of the drama is shot against natural locations, producing a fruitful, jarring effect - Graal chasing Bessie through a country lane, slipping and losing his hat; a desperate Graal pushing a little old lady and stealing her boat, foreshadowing Seinfeld and a famous loaf of rye. There is a startling scene in a butcher's shop, a gallery of fresh carcass bloating the screen.

短片合集，多位瑞典导演合作，包括Jorn Donner、Vilgot Sjoman、Gustaf Molander、Lars Gorling这样的新浪潮主将，纪录与剧情短片都有，彩色+黑白，老将带新人模式，实际伯格曼那部爱情的感觉一般，不过其他几部很好。7/10，推荐喜欢新瑞典电影的人看。
“Stimulantia” is a series of shorts made by famous Swedish directors like Ingmar Bergman, Vilgot Sjoman (I’m curious - yellow), Gustaf Molander - who has Ingrid Bergman in this one - and a few others. And.. It also has a ferrari and a fan walking in Chaplin’s neighborhood and shouting questions when he sees him. There are no subs for this one, and it’s in Swedish. I don’t have a clue what its about. But hey, who does. nd who needs to when you mix nudity, Bergman, Chaplin, Ingrid and a Ferrari in the same movie.

挪威著名剧作家易仆生编剧，北欧电影黄金时代的开篇之作。全片實景挪威海岸拍攝，拍攝難度與戲劇張力超越當代。原本平凡的水手，戰時為了養家活口冒險出航，卻被軍人所俘。多年後脫身返家卻人事已非，只有滿腔怨怒相伴。某天，當年俘虜他的仇敵與相隨的妻女海上落難待援，他奮勇而至，卻陷入「復仇還是救援？」的天人交戰。
Terje Vigen, a sailor, suffers the loss of his family through the cruelty of another man. Years later, when his enemy's family finds itself dependent on Terje's beneficence, Terje must decide whether to avenge himself. Based on a poem written by Henrik Ibsen and entirely on location shooting at the Norwegian coast, the film claimed to be the most expensive production and marked the beginning of the Golden Age in the Nordic film history.

1936 film by Gustaf Molander

Three Scottish officers, including Sir Archi, murder Sir Arne and his household for a coffin filled with gold. The only survivor is Elsalill, who moves to relatives in Marstrand. There she meets a charming young officer- Sir Archi- and she soon understands that he was one of the murderers.

A concert violinist becomes charmed with his daughter's talented piano teacher. When he invites her to go on tour with him, they make beautiful music away from the concert hall as well. He soon leaves his wife so the two can go off together.