Georg af Klercker – 01

Dödsritten under cirkuskupolen (1912) Filmografinr: 1912/22

Dödsritten under cirkuskupolen (First part)
R: Georg af Klercker. B: Charles Magnussen. K: Henrik Jaenzon. D: Carl Barcklind, Selma Wiklund af Klercker, Georg af Klercker, John Ekman. P: Svenska Biografteatern AB. Sw 1912
Engl. subtitles
Photo: Svensk Filmdatabas

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Ringvall på äventyr
R: Georg af Klercker. B: Georg af Klercker. K: Sven Pettersson. D: Axel Ringvall, Gustaf Ringvall, Tyra Leijman-Uppström. P: Pathé Frères. Sw 1913
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“When Swedish silent cinema is discussed it is usually about Victor Sjöström and Mauritz Stiller, and films such as Terje Vigen (Sjöström 1917), Thomas Graal’s Best Film (Stiller 1917), The Outlaw and His Wife (Sjöström 1918), The Treasure of Arne (Stiller 1919), Erotikon (Stiller 1920), The Phantom Carriage (Sjöström 1921) and The Saga of Gösta Berling (Stiller 1924). But there was a third man, frequently forgotten, and that was Georg af Klercker. One of the reasons he is not mentioned is that he had his best years 1915-1918, and then retired (sort of), and consequently he is not seen as part of the “golden age”. And whereas Stiller and Sjöström were both in Stockholm at Charles Magnusson’s vertically integrated company Svenska Bio, af Klercker made most of his films in Göteborg, at Hasselblad Fotografiska AB. But these are unfair reasons to keep him out of sight. If we instead keep to the wider span, 1913-1924, perhaps beginning with Sjöström’s marvellous Ingeborg Holm (1913), af Klercker’s oeuvre will be a natural part of that golden age. It is also a fact that initially Magnusson in 1912 hired all three of them, Stiller, Sjöström and af Klercker. They worked side by side for a few years before af Klercker left. Maybe if he had stayed on things would have been different.”
Fredrik Gustafsson
Fredrik on Film

“Af Klercker’s trademark is his exquisitely sharp black-and-white images fixed by a blend of natural and artificial light. He also made use of a special lens system which captured clear images of objects at distances from a few feet to a mile away. The Swedish director’s career (1915-18) was overshadowed by such directors as Victor Sjöström and Mauritz Stiller, who attracted international fame during the 1920’s “Golden Era” of Swedish silentfilm. His films were forgotten until the negatives were rediscovered years later in the vaults of Svensk Filmindustri.”
The Museum of Modern Art