Lögberg-Heimskringla - 05.06.1981, Qupperneq 6

6-WINNIPEG, FÖSTUDAGUR 5. JÚNÍ 1981
Iceland's Film Industry
Continued from page 5
Indridi G. Thorsteinsson, and pro-
ducer Jón Hermannsson who are
shooting a feature-length motion
picture based on The Saga of Gísli.
Two sets of replicas of farm
buildings from the Settlement Age
of Iceland — a period beginning
roughly 1100 years ago — have been
used to film this dramatic 13th cen-
tury tale. Isfilm envisions comple-
tiori of this movie by the beginning
of 1982 and naturally they are hop-
ing for a success that supercedes
that of Land and Sons. The Sage of
Gísli, a much more expensive under-
taking, will have to win some
popularity abroad to pay for itself.
Controversial themes and social
comment
Hrafn Gunnlaugsson, a poet and
writer, was almost banished from
television after his first film, The
Crimson Sunset (in black and white),
was broadcast in 1976. The Crimson
Sunset so upset viewers that Hrafn
was not allowed to make another
film for television until 1980. His
film, Whiplash, adapted from a short
story by an author who died young
and miserably, compresses into one
hour two murders, several horrible
revelations, and enough turns of
plot to fill a saga. In June 1980,
Hrafn's 35mm theatrical feature,
The Fathers' Estate (Óðal feðranna),
opened in Reykjavík. Its theme is
the flight of young people from the
country to urban Reykjavík and the
plight of those who are caught bet-
ween urban and rural life. Hrafn is
critical of several aspects of contem-
porary Icelandic society — both in
the country and the city. As in Land
and Sons, the acting in the Fathers'
Estate is excellent, and both film-
makers have made effective use of
non-professionals (one actress, for
instance was "discovered at a bus
stop") and leading performers from
theater and television. Both films
share the same visual beauty of the
spectacular Icelandic landscapes.
The Fathers' Estate joined Land and
Sons at the Museum of Modern Art
festival in New York, as well as be-
ing shown in Chicago and Los
Angeles.
A new landmark
1980 seems to have been a land-
mark year for the Icelandic film in-
dustry. Ás well as those mentioned
previously, a number of othef films
made their debut during the year. In
March, a full-length film for
children, Veiðiferðin (The Fishing
Trip) by Andrés Indridason w^s
shown for the first time in
Reykjavík. Later in the year there
was a joint showing of two new
films; an independently-made
documentary on the western islands
of Iceland, Mörg eru dags augu
(Daylight Eyes Swarm) by Óli Örn,
Andreasson; and the first all-
Icelandic cartoon feature, Thrym-
skvida (The Theft of Thor's Ham-
mer) by Sigurdur Örn Brynjólfsson.
A full-length film based on Pétur
Gunnarsson's novel Punktur
punktur komma strik was also
under production.
In addition, there has been an in-
crease in the number of foreign
companies making films based in
Iceland. These include the West
German adaptation of Halldor Lax-
ness' 1960 novel Paradísarheimt
(Paradise Reclaimed), and a Nordic
television film about the thirteenth
century statesman, poet and
historian, Snorri Sturluson.
All this activity would seem to in-
dicate a healthy future for the film-
makers of Iceland. Hopefully, those
of us in North America will obtain
more access to the creative output of
this group of talented Icelanders.
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