The Phantom Carriage

The Phantom Carriage

In The Phantom Carriage, director Victor Sjöström plays David Holm, a heartless unrepentant rascal who receives two summons one New Year’s midnight. The first is from a dying nun who showed him the most undeserved act of mercy he ever received; the second is from the phantom who drives Death’s titular carriage. As the film shows flashbacks of Holm’s wasted life, the alternation between red-orange and blue tinting sets up a dichotomy between warmth and cold, life and death, damnation and mercy, that permeates the film. The mix of fantasy and morality tale plays out as incredibly as the special effects of the wispy transparent spectres, which float over the screen like the fleeting intangible offers of mercy and redemption.

—Evan Cogswell (2016)

  1. Directed by: Victor Sjöström
  2. Produced by: Charles Magnusson
  3. Written by: Selma Lagerlöf Victor Sjöström
  4. Music by:
  5. Cinematography by: Julius Jaenzon
  6. Editing by: Alexander Bako Axel Esbensen
  7. Release Date: 1921
  8. Running Time: 107
  9. Language: Swedish

Arts & Faith Lists:

2020 Top 100 — #86

Similar Posts

  • Jesus of Montreal

    Before he became an Oscar-winning filmmaker, Denys Arcand was an historian. And some of his first historical projects—such as a government-sponsored documentary about Samuel de Champlain, one of the founding fathers of Canada—got him into trouble with the powers that be, who felt he didn’t toe the official line as closely as he should have. …

  • The House is Black

    “There are moments when the social world seems more evident in an object or a gesture than in the whole concatenation of our beliefs and institutions.” In this quote, anthropologist David MacDougall encapsulates the ambition of observational cinema with perfect precision. “Through our senses we measure the qualities of our surroundings—the tempo of life, the…

  • Cave of Forgotten Dreams

    On a Top 100 list that threatens top-heaviness with clergy, saints, and organized religion, Cave of Forgotten Dreams is a welcome outlier.  Its writer/director, Werner Herzog, professes no interest in God or religion, except as a subject for cultural exploration, a manifestation of our humanity. Yet his films, across a career spanning almost 60 years, are suffused with…

  • Stop Making Sense

    Jonathan Demme’s 1984 concert film, Stop Making Sense, begins simple enough. Talking Heads front man David Byrne walks onto a bare stage and places a boombox on the ground. “Hi, I got a tape I wanna play you,” he quips. Byrne turns on the stereo and the musician’s acoustic guitar soon melds to a tight backing…

  • Yi Yi

    Most family epics are downers, tragedies, stories of something organic that slowly unravels. But Yi Yi—Edward Yang’s painstakingly observant film about a couple of weeks in the life of a Taiwanese family—is a vast tapestry of discouragement, questioning, realization, and hope. Has there ever been a family epic that offered a richer tapestry of trouble and…