This is one of the best Danish crime movies from the 1950's. A wonderful dark collaboration between Lau Lauritzen, jr. and Johannes Allen. It's about young Egon (Ib Mossin), who ends up with some experienced criminals, and can't get out to get a better life. He has spent much time in child care centers, and youth prison. Some of his equals gets a regular life, and only his girlfriend Ruth wants him out of the criminal life. The film has a great thoughtful ending. Notice especially Ib Mossin's powerful acting, along with Birgitte Bruun's remarkable debut as the intelligent girl, that shows a dumber attitude. She is far away from her part as 'Søs' in Far til Fire (1953) that same year. Sven Gyldmark's score also needs mentioning in short: Brilliant score.
2 Reviews
The Doctor's Bag.
morrison-dylan-fan3 December 2019
Warning: Spoilers
Having started my Noir viewings of November with the outstanding Danish Nordic Noir Think of a Number (1969-also reviewed),I felt a good way to wrap the month up would be to go full circle by going back to Denmark and meeting the dangerous youth.
View on the film:
Building a thick shell for himself from being caught committing crime then getting thrown into a juvenile delinquents home, Ib Mossin gives a great Noir loner turn as 17 year old Egon, whose early crime days Mossin plays with a underlying naive glint in the eyes, which Mossin pokes out at the delinquents home, hardening Egon into a detached, cold-minded criminal.
Pulled into the centre of a gang Egon builds to lead,Klaus Nielsen gives a expressive performance as Ejnar, with the nervousness Nielsen hooks him in with, opening the possibly of Ejnar having doubts over following Egon's cycle in life. Dancing off from the credits to Egon and his fellow gang members smashing a window in, director Lau Lauritzen richly blends the rebellious teenage Drama of the 50's with the refine stylisation of Film Noir.
Running with Egon and his gang in rough-edge tracking shots down briskly lit streets rolling on a ruckus atmosphere, which is set by Lauritzen to simmering in-doors on striking close-ups of low-lit shadows casts across Egon's face, hardening what little innocence remains.
Throwing all the youth in the film around the system, the screenplay by Johannes Allen takes the young love, rebel outlook of the teens, and wonderfully dips them into the pessimism of Film Noir's ruthless street crime and burnt-out state for Egon and his friends, leaving a small sliver of chance for Ejnar to turn away from the dangerous youth.
View on the film:
Building a thick shell for himself from being caught committing crime then getting thrown into a juvenile delinquents home, Ib Mossin gives a great Noir loner turn as 17 year old Egon, whose early crime days Mossin plays with a underlying naive glint in the eyes, which Mossin pokes out at the delinquents home, hardening Egon into a detached, cold-minded criminal.
Pulled into the centre of a gang Egon builds to lead,Klaus Nielsen gives a expressive performance as Ejnar, with the nervousness Nielsen hooks him in with, opening the possibly of Ejnar having doubts over following Egon's cycle in life. Dancing off from the credits to Egon and his fellow gang members smashing a window in, director Lau Lauritzen richly blends the rebellious teenage Drama of the 50's with the refine stylisation of Film Noir.
Running with Egon and his gang in rough-edge tracking shots down briskly lit streets rolling on a ruckus atmosphere, which is set by Lauritzen to simmering in-doors on striking close-ups of low-lit shadows casts across Egon's face, hardening what little innocence remains.
Throwing all the youth in the film around the system, the screenplay by Johannes Allen takes the young love, rebel outlook of the teens, and wonderfully dips them into the pessimism of Film Noir's ruthless street crime and burnt-out state for Egon and his friends, leaving a small sliver of chance for Ejnar to turn away from the dangerous youth.
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