Victor Sjöström
| Victor Sjöström | |
|---|---|
 |
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| Born |
Victor David Sjöström 20 September 1879 Årjäng,Värmlands län, Sweden |
| Died | 3 January 1960 (aged 80) , , Sweden |
| Spouse(s) | Alexandra Stjagoff (1900–1912) Lili Bech (1914–1916) Edith Erastoff (1922–1945) |
| Parent(s) | Olof Adolf Sjöström (1841–1896) |
| Awards |
NBR Award for Best Actor 1958 Wild Strawberries |
Victor David Sjöström (Swedish: [ˈvɪktɔɾ ˈɧœˈstɾœm]; in the United States sometimes known as Victor Seastrom; 20 September 1879 – 3 January 1960) was a pioneering Swedish film director, screenwriter and actor. He began his career in Sweden, before moving to Hollywood in 1924. Sjöström worked primarily in the silent era; his best known films include The Phantom Carriage (1921), He Who Gets Slapped (1924) and The Wind (1928). Sjöström was Sweden's most prominent director in the "Golden Age of Silent Film" in Europe. Later in life, he played the leading role in Ingmar Bergman's Wild Strawberries (1957).
Born in Årjäng/Silbodal, in the Värmland region of Sweden, he was only a year old when his father, Olof Adolf Sjöström, moved the family to Brooklyn, New York. His mother died when he was seven years old in 1886. Sjöström returned to Sweden where he lived with relatives in Stockholm, beginning his acting career at 17 as a member of a touring theater company.
Drawn from the stage to the fledgling motion picture industry, he made his first film in 1912 under the direction of Mauritz Stiller. Between then and 1923, he directed another forty-one films in Sweden, some of which are now lost. Those surviving include The Sons of Ingmar (1919), Karin, Daughter of Ingmar (1920) and The Phantom Carriage (1921), all based on stories by the Nobel Prize–winning novelist Selma Lagerlöf. Many of his films from the period are marked by subtle character portrayal, fine storytelling and evocative settings in which the Swedish landscape often plays a key psychological role. The naturalistic quality of his films was enhanced by his (then revolutionary) preference for on-location filming, especially in rural and village settings. He is also noted as a pioneer of continuity editing in narrative filmmaking.
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