As with "A Trip to Mars," visually this is remarkable for a film from the early days. The special effects are good. But that's about where it stops. Both this film and the former are basically religious allegory. And they are also full of silly actions by their characters. The thing begins in a mining town, where two sisters live and have romances with local guys. One is true blue to her sailor man. The other betrays her miner boyfriend for a rich man who sweeps her off her feet at a dance. She runs off with him and joins him in the lap of luxury. Her old boyfriend is ticked. Anyway, this fellow is a wheeler dealer on the stock exchange. He is already loaded but wants more. When scientist discover that comet is going to enter earth's orbit and cause wholesale destruction (the end of the world, basically), he buys up all the stock, then gets his newspaper editor to announce that there is no danger. Now he can sell the stock at par value and add to his empire. The most ludicrous event of all is that he returns with his wife to the mining town. They have a big house there and it has a secret passage into the mines. He is going to take her down there and emerge when the catastrophe is over (but why did he need the money?). Then the most idiotic thing of all. He invites all his rich friends to a party instead of going into the mine and protecting himself and his wife. The miners revolt and attack the party. He didn't even bother to take supplies underground or gas masks. Also, there is a shootout. The conclusion is also about as moronic as can be with a trip back to Genesis. It's a curiosity and nothing more.

The qualities and faults I mentioned above with respect to A TRIP TO MARS (1918) pretty much apply to this film as well - with which it's been ideally paired on an otherwise bare-bones DVD from the Danish Film Institute. Still, I'd give the edge (if ever so slightly) to THE END OF THE WORLD - even if it does take forever for the titular cataclysm to begin! In fact, the first half gets bogged down in scenes of domestic melodrama - though these are countered by interesting passages involving a wicked financier, who's willing to cheat at the stock market by having the catastrophe downplayed in his papers! Amusingly, he then makes a fist at the sky whenever he happens to glimpse the falling meteor (an obvious painting, it's visible at all times) because it will naturally mean his ruin (he seems to be less concerned, however, that it will most certainly also prove to be his undoing in a physical sense!). He still decides, somewhat perversely, to hold a 'last day on earth' meal for his family and friends - since he intends to escape through a secret passage which leads from his house to the underground mines he owns...but hadn't quite counted on the working-class, who have themselves planned to 'celebrate' the apocalypse in grand style (by turning on their long-standing aristocratic oppressors!).The scene in the mine actually displays some atmospheric lighting - and the special effects, though clearly primitive, are fairly effective (in particular, the images of the mining-town with the smoke from its factory-chimneys mingling with that from the flaming meteors). The catastrophe also sees the town convincingly flooded; an elderly priest's subsequent clumsy attempts to control a boat in water provides some unintended chuckles. The ending - following the disaster, a couple is reunited - seems to be reaching out for spirituality, but the fact that only they (and the aforementioned priest, who had been practically holed up in their house the entire film!) seem to have survived makes it look contrived more than anything else...By the way, renowned French film-maker Abel Gance made a similarly-titled film in 1930; regrettably, when it was broadcast (for the first time ever in my neck of the woods) on late-night Italian TV - incidentally, on New Year's Eve of 2005 - I missed it...because, at the time, I was staying in Hollywood!!

I saw the Danish Film Institute's digitally-restored print of this film when it was screened at the Cinema Muto festival in Sacile, Italy, in October 2006.In 1910, the entire planet Earth went through the tail of Halley's comet. The only physical effect was that nights were brighter than usual that year (nowadays, we wouldn't notice, due to all the light pollution!). However, a societal effect was a sharp increase in apocalyptic stories, with the world ending due to a comet or some similar phenomenon. The vogue continued for some years thereafter, leading to Conan Doyle's 1913 novel 'The Poison Belt' and perhaps even Hollywood's apocalyptic drama of the 1930s, 'Deluge'. The mise-en-scene of 'Verdens undergang' makes it clear that this film is inspired not only by the recent visit of Halley's comet but also by the steadily worsening Great War elsewhere in Europe, and by the peasants' overthrow of the Czar in Russia.Carl Lauritzen plays a mine foreman named West. His two daughters are a study in contrasts: blonde virginal Edith (Johane Fritz-Petersen) and dark adventurous Dina (Emma Thompson, I mean Ebba Thomsen). After jilting a poorer man named Flint (Thorleif Lund), Dina elopes with Frank Stoll (Olaf Fønss), an industrialist who practically has dollar signs tattooed on his forehead. Edith is content to cast her lot with that of Reymers (Alf Blütecher), a poor but honest ship's officer.Meanwhile, there are reports that a comet is on a collision course with Earth. (Don'tcha hate it when that happens?) Stoll cleverly exploits the mounting panic to make a stock-market fortune for himself ... even while the apocalyptic rumours are becoming more obviously an accurate prediction. The movie never questions why Stoll is so obsessed with increasing his wealth when even he realises that the world is doomed.Now get this, please. On the night when the comet is scheduled to strike Earth and kill everybody, Stoll and Dina invite all their wealthy decadent friends to an orgy in the Stolls' mansion. There's lots of frenzied orgiastics (1916 version). Meanwhile, Flint leads an attack of the enraged proletariat on the mansion. I found the behaviour of the lower-class characters in this movie even less plausible than the behaviour of the wealthy ones: fully aware that this is the last night of their lives, they waste it by trying to destroy someone else's property and killing them ... even though that property and those lives are going to be ended tonight anyway. Sure enough: Flint and the Stolls die BEFORE the world ends.SPOILERS COMING. Meantime, fire rains from the heavens while the oceans flood the continents, in an apocalypse that looks astonishingly biblical. Rising seas, of course, are nothing for ship's mate Reymers. When all the trouble dies down, it appears that there are only two people left on Earth: Reymers and Edith. Up until now, we've been reminded of the Book of Revelations ... but now it looks like we're back to Genesis, with a Danish version of Adam and Eve. Cue the end credits.'Verdens undergang' occasionally teeters on the edge of risibility, since most of the actors in this film appear to be playing social archetypes rather than human beings. Several times while watching this movie, I was reminded of my all-time favourite film -- 'Metropolis' -- but, in every single way that these two movies are similar, 'Metropolis' is definitely superior.I was deeply impressed with how 'Verdens undergang' managed to stage the end of the world, and its aftermath, on a much lower budget than Fritz Lang had for 'Metropolis'. The scenes of the comet's arrival are simply and cheaply depicted, by means of showering sparks and billowing smoke: this understated effect is surprisingly convincing, and eerie as well. Later, the scenes of the rising flood provide some powerful exterior shots. I'm always intrigued when film-makers attempt to depict an apocalypse (or any real disaster) in locations where people are actually living and working, rather than on a studio set. 'Verdens undergang' is not the most plausible end-of-the-world film I've ever seen -- that would likely be 'The Day the Earth Caught Fire' -- but it's eerily compelling in its own right, and I'll rate this movie 9 out of 10.

This Danish feature about a comet that destroys northwest Europe, leaving only a single man and a woman who meet in a church, is beautifully photographed, with many lovely shots and a fluid camera. Of course, the capitalists try to make extra money out of the panic, and of course the lower classes -- as exemplified by the common folks in a mining town -- break into the home of the wealthy capitalist the evening the comet hits in order to gain vengeance, interrupting a ballet in the process. All this is standard stuff for the better sf of the era: Wells, Verne and so forth.I have some issues with the way it is cut. Since the actors don't really play people, but types, they do not give terribly interesting performances. Also, the direction is, even for the era, slow: people are shown holding conversations that we never hear.To understand the success of this movie, the modern viewer must recall that the First World War had been raging to the south of Denmark for twenty months when it was released. This is not a work of fiction so much as a parable, to eschew worldly things, and to seek God, for all worldly things will be destroyed. Including people.