he was seen in Arthur Robison terrifying A Night of Horror and in Lubitsch Marriage of Louise Rohrbach ( 1917).
These films enjoyed an immense success. Cinemas, many of them quite luxurious, sprang up all over Germany. Max Reinhardt was paid four hundred thousand marks for making a single film. Actors earned as much as one hundred and fifty thousand marks. By the end of 1918, in spite of war, famine and threatening revolution, a profound feeling for the film had been deeply implanted in Germany and already there was an originality about the German product which was to develop very fruitfully.
The Danes, whether in their German productions or in those made actually in Denmark, can be distinguished only with difficulty from the Germans. Their neutrality at first stood them in good stead. To compete with America, now gradually cornering the European market, Nordisk made more than three hundred films in the first years of the war--films adapted from novels or from plays and a quantity of short comedies featuring the Danish comedians Stribolt, Alstrup and Buch. A newly formed Danish company also brought Benjamin Christensen to the fore; he had made his first film, The Mysterious X, in 1913. But little by little, Nordisk, faced with ever increasing competition, lost its preeminence and the Danish film on which such high hopes had been founded was finally defeated in the battle for the European market. Christensen went to Sweden and made his best film, Witchcraft, there. By the time the war was over Ufa had killed the Danish film.
DURING the war the Swedish film, safely removed from the hostilities, really got under way. Each year Victor Sjöström, who was to become the foremost of Swedish directors, made four or five films in which he also acted. In 1914 it was One Among Them, Judge Not, The Traitor's Money, Vultures of the Sea. In 1916 it was Therese, Dödskyssen and--most noteworthy of them--Terje Vigen, after Ibsen Brand. All of them revealed a photographic