Blackjackets Rule!

The Swedish film poster for RAGGARE! (1959)

In America during the mid-1950s there was a backlash against conservatism and conformity which was fueled by the rise of rock ‘n’ roll and a pervasive mood of rebelliousness and frustration among teenagers. Much of this was reflected in the pop culture of the era, especially movies such as The Wild One (1953), Rebel Without a Cause (1956), and Blackboard Jungle (1956). Yet, this social change was not exclusive to America and was happening simultaneously all around the world. Juvenile delinquency, gang warfare, wild, alcohol-fueled parties and sexually promiscuous behavior were typical of the kinds of anti-social behavior on display in films as diverse as Die Halbstarken (English title: Teenage Wolfpack, 1956) from West Germany, Kurutta Kajitsu (English title: Crazed Fruit, 1956) from Japan, and Violent Playground (1958) from Great Britain. One of the lesser-known entries in this category is Raggare! (1959) aka Blackjackets, which stirred up considerable controversy in its native Sweden but didn’t attract much attention outside Scandinavia (It never received a theatrical release in the U.S.). There are also hardly any black leather jackets on display and most of the characters don’t share any physical similarities with the cast of Grease.

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Gabriel Axel’s The Red Mantle

The name Gabriel Axel might not be familiar to most American moviegoers but many are familiar with his 1987 film Babette’s Feast which became a surprise art house hit and won the Oscar for Best Foreign Language Film, beating out Louis Malle’s Au Renoir les Enfants. Ironically, Axel was almost 70 and at the end of his filmmaking career when he experienced a career resurgence. But the film that is considered his first international art house breakthrough is Den Rode Kappe (1967), which was released in Europe as Hagbard and Signe and is best known under the title The Red Mantle in the U.S. The poster above with the awkwardly edited quote – and movie spoiler – from Time magazine also includes the reference “From the producers of Dear John” which means nothing to anyone today but that film was a slightly risque art film in its day (due to the nudity) and a nominee for Best Foreign Language Film of 1965 (It lost to Elmar Klosand and Jan Kadar’s The Shop on Main Street). Continue reading →