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Leif and his crew claim the new world they’ve discovered for king, country, and Christianity. After a fort is built and Leif has converted the local Indians to Christianity, Alwin and Helga are left behind with a small colony of Vikings. The mystery of the colony’s ultimate disappearance is left open, but the film employs a coda ending to indicate that the watchtower the colonizers built still stands in present-day (1928) Newport, Rhode Island. The Viking constructs Leif Ericsson as a Norse Columbus, one whose mission is both colonizing and Christianizing.

3 This act of self-naming one’s own category of European immigrant ethnicity as “white” was an act of reinvention in a country where color line boundaries were life-and-death matters. Although the cultural and political construction of Scandinavian whiteness in America has received little specific attention to date, the African American novelist and essayist James Baldwin problematized it in his 1984 Essence magazine article “On Being ‘White’ . . ” No one was white before he/she came to America.

Courtesy of the Academy of Motion Picture Arts and Sciences. an ethnically homogeneous homeland seems alert to this new world of socially powerful color lines and codes. Sjöström’s career as a pioneering Swedish silent film director (capped many years later by his memorable performance as the elderly Professor Isak Borg in Ingmar Bergman’s Smultronstället [Wild Strawberries] in 1957) often obscures the fact that he spent most of his childhood in the United States. He was born on September 7, 1879, in Silbodal, in Sweden’s Värmland district.

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