International film co-productions often result in hybridized narratives that may not fully resonate with national audiences (Romanelli 2016: 42). The 1968 film "Only One Life: the Story of Fridtjof Nansen" was the first co-production between Norway and the Soviet Union, presenting an intriguing case study for evaluating the factors that influenced its success or limitations both nationally and internationally.

This co-production emerged at a time when Lenfilm had already gained experience in international collaborations, having partnered with France, Bulgaria, and Yugoslavia. The film’s subject, the life of Fridtjof Nansen, held particular relevance for Soviet audiences due to his humanitarian efforts during the Russian and Ukrainian famine, making him a figure of transnational significance. According to Yevgeny Surkov, then editor-in-chief of the USSR State Committee for Cinematography, the film aimed to highlight Nansen’s humanitarian legacy, his universal moral virtues, and the importance of celebrating human greatness rather than degradation. 

Directed by Sergei Mikaelyan, who was little known to Norwegian audiences at the time, the production also featured renowned cinematographer Dmitry Meskhiev. The lead role was played by Norwegian actor Knut Wigert, while Soviet actors took on supporting roles and extras. With a total budget of 8 million kroner, the Soviet Union contributed 7 million, overseeing key production elements such as cinematography and location management. Filming took place in both Norway and the USSR, with interior scenes reconstructed in Oslo and Arctic expedition sequences shot near Murmansk.

Despite logistical and creative challenges – including Mikaelyan’s initial desire to cast Liv Ullmann as Eva Nansen – the film was completed through extensive negotiations and collaboration between Norwegian and Soviet teams. This study draws on archival materials, Norwegian and Soviet press accounts, and translators’ recollections to examine the film’s production complexities and assess its historical and cinematic significance.

 

Romanelli, C. (2016). French and Italian Co-productions and the Limits of Transnational Cinema. Journal of Italian Cinema and Media Studies, 4(1), 25–50.