The film makes reference to “Peace Day” as a day when the world seemed full of possibilities. Sweden was officially neutral during World War 2, though it was effectively under German dominion. One other interesting aspect of the film is that it’s very firmly set in the post-war period. We’re left unsure of ourselves, and the story plays with that uncertainty. The mood remains dark, but in some ways it becomes a completely different film. With a sudden twist, the story transforms from noir into whodunnit. But just under halfway through its 84 minute running time, the film switches gears. The first half of the film plays out like a classic noir scenario – Eva finding refuge on the shadier side of the city, while the police dragnet slowly begins to close around her. It opens with Lora Wilding (Eva Henning, who we just saw as Auri in The White Cat) shooting her husband Walter (Georg Rydeberg) and going on the run. In The Mist is an interesting film, one that shows how arbitrary genre lines are. And only one of his novels has been made into a film: I dimma dold. He wrote dozens of novels, but is only credited as the writer on one film: The Die Is Cast. Nowadays he’s not so popular, but at the time he was ranked alongside Maria Lang and Stieg Tranter as a top name. Vic Suneson (a pen name, his real name was Sune Lundquist) was one of Sweden’s best-known crime writers from 1948 through to his death in 1975. It’s a film with a link to one we’ve looked at before, The Die Is Cast. The current title on Netflix is In The Mist, so that’s what we’ll go with. Originally released under the title of I dimma dold (“Hidden In Fog”), this film has had two different English titles – neither an actual direct translation.
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There he transitioned into being an extremely successful TV director, working on shows like Columbo, The Man From U.N.C.L.E. Kjellin had made his Hollywood debut the year before, and he’d split his time between the two countries before settling in California in the 1960s. Again, he’s very reminiscent of a Hitchcock leading man. He gives an “X” who is clearly tormented by uncertainty, but who also manages to show us why Auri trusts him so instinctively. A film like this succeeds or fails based on the central performance, and luckily for Ekman his leading man Alf Kjellin delivers. Henning played the female lead in several of Ekman’s films during their marriage, including this one where she (as a sympathetic waitress named Auri) tried to help the mysterious man deal with his amnesia. In fact just the previous year Ekman and his then wife Eva Henning starred in Bergman’s film Three Strange Loves. This is often described in retrospect as a “great rivalry”, but in fact the two men worked together often.
This was his only “whodunnit”, inexperience which shows in the clumsy construction of the ending where one character literally just asks another to explain various plot points.) At the time Ekman was Sweden’s most successful director, though nowadays he’s been almost completely eclipsed by a rising star who had barely got started in 1950, Ingmar Bergman. (The other writer was his frequent collaborator Walter Ljungquist, with the film based on his novel Keys To An Empty Room. Director and co-writer Hasse Ekman was better known for his admiration for Orson Welles, but this film uses Hitchcock’s techniques perfectly to frame a story that could easily have been one of his movies. Hollywood was always an influence on international cinema, and this film shows the influence of one director in particular: Alfred Hitchcock. All he remembers is that he can’t go to the police, and something – something terrifying – about a white cat… In a café he overhears a conversation about an escaped lunatic, and is terrified that might be him. All he has is a keyring with two keys on it, a fancy pen, a piece of paper with an address written on it, and a ten-kroner note that he immediately loses to a pickpocket. He doesn’t know how he got there, or even his own name. A man finds himself on a train arriving at Stockholm.
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