Natural surroundings heighten a movie director's ability to examine his characters' identities. The first film in cinema to introduce soaring landscapes and weather elements for the purpose of exploring the actors' interior personalities is Swedish director Victor Sjostrom's January 1918 "The Outlaw and His Wife."
Based on the true story of a mid-1700 criminal escaping incarceration with his wife into the mountains of Iceland, "The Outlaw and His Wife" uses the stunning scenery of northern Sweden to reflect nature's impact on human behavior, especially displayed in the second half of the movie.
Sjostrom and Edith Erastoff appeared in the director's earlier "The Man There Was," and began a relationship despite Erastoff marriage status. In fact, Edith was pregnant with Sjostrom's child when filming "The Outlaw and His Wife." She delivered a girl, Guje Lagerwall, who lived to be 100, soon after the January premier. Sjostrom and Erastoff eventually married in 1922 after she secured a divorce from her first husband.
Sjostrom worked well with cinematographer Julius Jaenzon, who lends a surreal tone to this highly visual film. He uses the sun frequently to backlight the actors, and often overexposes the film to portray them in a fairytale-like glow. Jaenzon also silhouettes his on-camera personalities against huge backdrops to emphasize how puny people and their problems are in relation to the overall scheme of God's great work in presenting earth's majesty.
Besides man's co-existing with a sometimes turbulent nature, Sjostrom shows the psychological mechanics within a human relationship, especially reflected memorably in the sequence where Erastoff throws the couple's baby over the cliff. Such stress in hiding from the law in an unforgiving environment casts a light on the breaking point of the human condition in such circumstances.
Today's directors such as Terrance Malick, known for his photographic expertise, studied "The Outlaw and His Wife" for its natural elements incorporated into their characters' behavior and plot motivations. Sjostrom's film played a huge influence on later visually-stunning motion pictures using nature's varied landscapes.
Based on the true story of a mid-1700 criminal escaping incarceration with his wife into the mountains of Iceland, "The Outlaw and His Wife" uses the stunning scenery of northern Sweden to reflect nature's impact on human behavior, especially displayed in the second half of the movie.
Sjostrom and Edith Erastoff appeared in the director's earlier "The Man There Was," and began a relationship despite Erastoff marriage status. In fact, Edith was pregnant with Sjostrom's child when filming "The Outlaw and His Wife." She delivered a girl, Guje Lagerwall, who lived to be 100, soon after the January premier. Sjostrom and Erastoff eventually married in 1922 after she secured a divorce from her first husband.
Sjostrom worked well with cinematographer Julius Jaenzon, who lends a surreal tone to this highly visual film. He uses the sun frequently to backlight the actors, and often overexposes the film to portray them in a fairytale-like glow. Jaenzon also silhouettes his on-camera personalities against huge backdrops to emphasize how puny people and their problems are in relation to the overall scheme of God's great work in presenting earth's majesty.
Besides man's co-existing with a sometimes turbulent nature, Sjostrom shows the psychological mechanics within a human relationship, especially reflected memorably in the sequence where Erastoff throws the couple's baby over the cliff. Such stress in hiding from the law in an unforgiving environment casts a light on the breaking point of the human condition in such circumstances.
Today's directors such as Terrance Malick, known for his photographic expertise, studied "The Outlaw and His Wife" for its natural elements incorporated into their characters' behavior and plot motivations. Sjostrom's film played a huge influence on later visually-stunning motion pictures using nature's varied landscapes.