The New Land

"The New Land" is the second half of a story started in Troell's "The Emigrants," which depicted the struggles of a band of Swedish peasants in their move to America. Here, several of the settlers- such as the priest and the prostitute- move away in the first half-hour and reappear here and there throughout the rest of the film. The plot focuses on Karl-Oscar, his wife Kristina, and the family they try to raise in the Minnesota wilderness.

Von Sydow and Ullmann are given a chance to embellish on their characters, and they both do excellent work. Axberg also does a fine job of lending more depth to the character of Robert, Karl-Oscar's rebellious younger brother. There is also material worked in that examines the mistreatment (and eventual uprising) of local Native Americans and the futile searches for gold in the north. These other elements do not always seem to fit with the central story, but they effectively add to the sense of time and place anyway.

"The New Land" does not have the same emotional impact that "The Emigrants" had, but it develops the two central characters more and intelligently explores how they learn to adapt to their new life. Put together, these two films convincingly illustrate the plight of those who forged our frontier.

This is an extraordinary film, which I gave 10 out of 10 even if Warner Brothers, the film's theatrical distributor, cut the film in half for its American release. If ever this film (and its predecessor, "The Emigrants") makes it to DVD, I sincerely hope those 102 minutes are restored, so that I can at last see the film that Jan Troell intended for me to see.

As it looks on video, "The New Land" is still magnificent - its depiction of Swedish immigrants settling in frontier Minnesota outdoing every Western ever made. Be sure to look for the scene that George Lucas stole wholesale where Max von Sydow slaughters an ox and places his freezing son inside it during a snowstorm.

Part 2 of The Emigrants/ The New Land duology (I'm not sure what to collectively call them?) is just as well-made and as emotionally harrowing as the first, but in a different way. The Emigrants naturally dealt with the main characters making a difficult journey from Sweden to the U. S. in the 19th century, with The New Land seeing them settled down and trying to make the most of life in... well, a new land. Naturally, things aren't as great as they hoped it all would be, and the various challenges the characters are put through end up making this a challenging watch for the audience.

It's not challenging because it's boring or slow, though - more so that it's heavy-going and quite brutal in places. It's also over three hours long, which I know probably already makes it a no-go film for a good many people. It's actually very easy to appreciate all the stuff this does well, because the acting's great, it's visually excellent, and there are some really inspired editing choices in this as well (so it's not surprising to see in the credits that the director and editor are one and the same: Jan Troell).

These two films end up being about six and a half hours long, and together tell a difficult but engaging story about Swedish/American history, and the plight of an emigrant family plus all the challenges that come with both travel and settling. Not the easiest two-part film in the world to recommend, but it makes for a compelling epic that should deliver for those who find the idea of watching such a film intriguing.

I watched this the day after watching The Emigrants. They're really one film cut into two very long halves. I suppose Kill Bill 2 also is a standalone movie, but no one would recommend seeing only that and not watching Kill Bill 1. It's the same for The Emigrants and The New Land. Certain relationships in this movie only have power because of the backstory found in The Emigrants, such as Robert and Arvid's close friendship, why Kristina is so attached to Kristina despite religious differences, and even why Uncle Danjel is relevant.

The cinematography in this film felt more jarring and experimental, particularly with respect to Robert's trip out west. The movie is incredibly long and drawn out, and the timeline can be hard to pinpoint. An hour may be spent on days or weeks and then years suddenly pass between camera cuts.

This film does excel at showing both the impact of loss and how commonplace death was on the frontier. Danger never was far away, and seemingly distant occurrences suddenly could have local impact, whether the Civil War or strife with the Indian tribes. The New Land a pretty good film, but it suffers even more so than The Emigrants from overlength and without quite as much punch.

"The New Land" is the second half of a story started in Troell's "The Emigrants," which depicted the struggles of a band of Swedish peasants in their move to America. Here, several of the settlers- such as the priest and the prostitute- move away in the first half-hour and reappear here and there throughout the rest of the film. The plot focuses on Karl-Oscar, his wife Kristina, and the family they try to raise in the Minnesota wilderness.

Von Sydow and Ullmann are given a chance to embellish on their characters, and they both do excellent work. Axberg also does a fine job of lending more depth to the character of Robert, Karl-Oscar's rebellious younger brother. There is also material worked in that examines the mistreatment (and eventual uprising) of local Native Americans and the futile searches for gold in the north. These other elements do not always seem to fit with the central story, but they effectively add to the sense of time and place anyway.

"The New Land" does not have the same emotional impact that "The Emigrants" had, but it develops the two central characters more and intelligently explores how they learn to adapt to their new life. Put together, these two films convincingly illustrate the plight of those who forged our frontier.