Actor: Peter Steen

The Olsen Gang in Jutland

The Olsen gang in Jutland. Ones again Egon Olsen has a plan when he gets out of Vridslose State Prison. He has found out that the Germans left a large sum of money (in American dollars and gold bars) in one of their commando bunkers, when they were defeated in 1945; the only problem it's in Jutland. Egon, Benny and Kjeld "appropriate" a car and drives to Jutland along with Kjelds wife and child Yvonne and Borge. They look forward to fooling the the people in Jutland, but of course, things don't go quite as planed. It ends with Benny, Kjeld, Borge and Yvonne sitting in the train back to Copenhagen, were they are overtaken by Egon in his car on the road next to the track. This is the last time the Olsen gang goes to Jutland.

The Inheritance

A young Danish man, Christoffer, lives a life of joy and happiness with his wife Maria in Stockholm. When his father dies his mother insists that Christoffer take over management of the family industry which is in danger of bankruptcy. He is torn between his chosen life and his sense of duty to his family and its past. When he chooses to step in as manager his family life and self-respect languish.

The Olsen Gang

The first of 14 Olsen Gang films presents us with Egon Olsen, head of the gang, and his friends Benny and Kjeld, who want to become the best known gang in Denmark and eventually Europe by stealing a famous Bavarian work of art currently displayed in a Copenhagen museum. Although Egon's plan works out fine, there is only trouble ahead for the little gang.

The Olsen Gang in a Fix

A good looking female social welfare worker makes Egon Olsen forget about crimes for some time, but when an American gangster breaks into a local bank and the police think its Egon's work, he has to get back to work to prove he's innocent.

Reconstruction

Late one evening Alex suddenly abandons his girlfriend, Simone, to pursue the beautiful Aimee. In his encounter with Aimee time and place dissolve for him and he becomes a stranger to Simone, to whom he cannot return.

Revolution My A..

A comedy about a Danish private detective, normally just occupied with cases about unfaithful spouses, is suddenly involved in murder, arms deal, revolution in Guateragua, briefcase full of money and the Danish intelligence agency.

The Olsen Gang Never Surrenders

Egon plans to exploit knowledge gained during his latest term of incarceration. By stealing the unmanipulated financial records of DanInvest he obtains the majority of the stocks in the department store Magasin du Nord, just in time for their closing sale. The attempt to get the red suitcase that will save the day they rob the main vault at the EEC headquarters in Brussels and end up hijacking a tank.

Think of a Number

The story opens just before Christmas, when solitary, apathetic bank clerk Flemming Borck uncovers a plot to rob his bank. After doing a little rookie recon, Borck identifies the would-be bank robber as a faux shopping-mall Santa Claus, and counter-plots to steal the money himself and let Santa take the blame. This works out about as badly as you might imagine, and our bumbling protagonist spirals further and further away from the carefree, laconic lifestyle he had hoped to ensure for himself.

The Misanthrope

Bergman took one of his favourite plays to Copenhagen for a guest performance, which was even broadcast on Danish TV. In his Copenhagen The Misanthrope, Bergman maintained a dual approach. On the one hand, a production of Molière's play as a theatrical game performed in style and intellectually conceived; on the other hand, an exposure, through physical and psychological intensity, of the emotional tragedy in which Alceste and Celemine are both victims. Expectations were high prior to Bergman's production of The Misanthrope. A reviewer wrote, 'For the first time Molière's connection to the Danish stage is intercepted by a director whose forte is physiological tragedy, Strindberg over Holberg'. Many reviews had expected Bergman to put his very personal stamp on the production. Instead they experienced 'a clean Molière' and were struck by Bergman's faithfulness to the original mise-en-scene and to the classical rhythm of Molière's text.