The German-Danish War 1864

En Helt fra 64
R: Gunnar Helsengreen. K: Th.S. Hermansen. D: Aage Schmidt, Philip Bech, Alfred Cohn, Sophie Eskildsen. P: Fotorama. Dk 1910 (Frgm.)

“Everything is peace and quiet at the family Kemp’s house in Sønderborg, but danger is lurking outside their doors. The war has just begun, and the young Valdemar Kemp goes away to fight for his mother country. The Danish soldiers put up a brave fight on the battlefield, but the German army is too strong. One after the other, Valdemar’s friends are slaughtered, and his hopes of reuniting with his girlfriend and family slowly fade.”
Danish Silent Film

“The film is one of several national war drama produced by Fotorama. This film followed the young sønderborgenser Valdemar Kemp in the 1864 war with the Germans storm Dybbøl. You saw fighting in the redoubts – here proceeds with Vejlby bold – and could be through the family’s windows experience the hostile bombardment of Sønderborg. (…) The press was not particularly thrilled with the creative approach to the war’s progress as the movie had and some went so far as to speak of ‘… grave sins against his country‘s history.'”

Den lille hornblæser
R: Eduard Schnedler-Sørensen. B: Eduard Schnedler-Sørensen, H.P. Holst (poem). K: Alfred Lind. D: Christel Holch, Frede Skaarup, Gunnar Helsengreen. P: Fotorama / A/S Th.S. Hermansen. Dk 1909 (Frgm.)

“The film in question here is undoubtedly the most successful Danish historical film of the early silent film era. (…) Unfortunately, only two-fifths of the originally eighteen part film still exists (150 meter which, depending on the projection speed, is approx. 5­7 minutes). Besides the introductory seven scenes in Copenhagen, there exists another scene in which the mother receives the news of the death of her husband, as well as the scenes in which Frans the spy is put into prison and subsequently shot dead by Christian during his attempted break-out. Unfortunately, all the war scenes which make up the (narrative and historical) main focus of the film are missing. (…) The film’s title refers to a work by H.P. Holst (1811-18­93) from 1849, entitled ‘Den lille Hornblæser’. Translated as ‘The Little Trumpeter’, the work is an over two-hundred pages epic poem full of nationalistic pathos for the war of 1848, in which Holst took part as a middle-ranking civil servant under the North Jutland general command. (…)
The brave foot soldier had already been given a national monument in 1858 in Fredricia to commemorate the Fredericia battle of 1849 ­ at that time an unprecedented occurrence: the sculptor, Herman Bissen (1789-­1868) chose to commemorate the battle not by representing a commander or a king, but instead a private. (…)
That The Little Trumpeter functions so explicitly as an illustration of a memorial and its accompanying cultural narration is typical for a film of the last years of the first decade of this century. These years are known in film history as a transitional period between two basically very different forms of cinema and film.”
Stephan Michael Schröder: History Without Diegesis
Film as History/History as Film

Historical background:
The German-Danish War