Biography

For

Finn Rosenberg Ammitsted

Finn Rosenberg Ammitsted born 17. 11. 1920 and died 22. 09. 1955 as son of assistant Andreas Rosenberg Ammitsted (1895-1925) and wife Britta Petersen (1890 - ????).

As the only 22-year-old, Finn Rosenberg was the originator of the idea of making a long cartoon about the fairy tale "Fyrtøjet". In the years 1942-45 he was a leading force in the production of the said film. He was trained as an advertising cartoonist at the advertising agency Monterossi and had worked there for some years, after which he became creatively involved in the production of Denmark's first long cartoon with a running time of 78 minutes. He lived privately with his mother in an apartment in Guldbergsgade in Nørrebro, and the mother was apparently financially dependent on her son, who in turn felt strongly attached to her. This meant, among other things, that even in 1947, at the age of 27, he had never been engaged or had gotten stuck with a girl. He also stated that he was somewhat shy towards the female sex because he only had one testicle in his scrotum, and this had also contributed to the fact that he had so far kept his distance from the beautiful sex.

Around 1953, I happened to meet him at Nørrebro's Runddel, where he was sitting and getting a quiet object after work at the bodega "Runddelen"'s sidewalk café, and then he told me at my request that he still lived with his now old mother. He then worked as a copywriter for the advertising agency Harlang og Toksvig. Some years later, I learned through another former employee at "Fyrtøjet", the artist Otto Jacobsen, whom I happened to come across inside the city. that Finn Rosenberg had passed away.

During the production of "Fyrtøjet", Finn Rosenberg traveled a few times during 1944-45 with production manager Allan Johnsen to Berlin, where the development and copying of the film negative for "Fyrtøjet" took place at Agfa's film laboratory. This was due to the fact that in Denmark there were not yet facilities for developing and copying color films.

As for Finn Rosenberg's private relationship, my colleague and good friend Hans Perk has once again been able to contribute new information for me. In an e-mail of September 30, 2018, he announces that there is private information about Finn Rosenberg on the website https://danskefilm.dk/skupiller.php?id=30772. Here it is stated that Finn Rosenberg was married to Eleonora Agnete Jørgensen. This information has been partially confirmed by the webmaster of this website, Jakob Koch, who has conducted his own investigation of Finn Rosenberg Ammitsted's private affairs. and has found out that Finn Rosenberg was married to a woman named (first name not stated) Jørgensen. By the way, Jakob Koch has a distant family connection to Finn Rosenberg.

Although the family relationship between the Rosenberg Ammitsted family and the Koch family must be considered distant, here especially to this website's webmaster Jakob Koch, this relationship is of some significance, even if it has first come to webmaster Jakob Koch and my knowledge in connection with new corrections to Finn Rosenberg Ammitsted's biography. The relationship on the paternal side between Finn Rosenberg Ammitsted and Jakob Koch extends from the latter's grandfather Einar Koch and via his son Niels Koch to Finn Rosenberg Ammitsted's father Andreas Rosenberg Ammitsted. (See possibly the article H.C. Andersen and the families Wulff and Koch: http://www.livetseventyr.dk/HCA-Koch-frame.htm)

But the relationship between the two main characters mentioned also extends to their respective professional careers. Finn Rosenberg was a trained advertising cartoonist, who by chance became the initiator, co-author, layouts and background painter of the first Danish long cartoon "Fyrtøjet", which he worked on in the years 1942-46. He then continued in the same functions on A/S Dansk Farve- og Tegnefilm's new project, the feature film "Clumsy-Hans", which he worked on until 1950, when the project was scrapped due to lack of funding. As for Jakob Koch, he started working professionally with cartoons in the early 1960s, and after a few years he established himself with his own company, Jakob Koch Tegnefilm. As a particularly technically proficient in the use of so-called trick camera, he was given larger and smaller tasks as a trick film photographer. But he was also a skilled animator, who partly got animation assignments from outside and partly used his skills on the production of his own short cartoons. The reader can be referred to Jakob Koch's biography in the cartoon history – HERE

According to the above sources, Finn Rosenberg is stated to have been born in 1920 and was thus 35 years old at his death in 1955. As far as I understand, the marriage should have been entered into in 1947, when both were around 27 years old. In that case, the marriage should have lasted only about 8 years at his death in 1955. When I last met him in 1953, he was 33 years old, myself 24 years old. But to me, he seemed like an old man.

But according to what Finn Rosenberg has personally told me while we were still working on "Fyrtøjet", it was he who got the idea and took the initiative for the film. Which partly also appeared from the press coverage of the film, and partly later also has been confirmed in writing by Henning Pade. How Finn Rosenberg had come up with exactly that idea, he did not mention anything himself, but the idea of an H.C. Andersen fairy tale cartoon was, so to speak, in the "air" at the time, and especially after Carl Th. Dreyer with his article in "Avertering" had nurtured the idea, and after the expert Jørgen Müller had commented on the practical possibilities that one in Denmark would be able to implement such a project. For Finn Rosenberg, it happened in practice in such a way that when he was employed as an advertising designer at the Advertising Agency Monterossi around 1942, he was given one day to illustrate the book "Fra Dyreskind til Celleuld", which was written by manufacturer and wholesaler Allan Johnsen . On the back of the book was the following text:

"Here is a book for the inquisitive reader, not only the young man who seeks information about the day and the practical questions of the road, but anyone can in this interesting depiction find something new and expand their knowledge. It is the first time a Danish author on a popular way has described the history of the spinning fabrics, and it has been made so amusing and easy to read that the book will find its way to the largest audience."

The book, which according to Henning Pade was written during the summer of 1942, tells about the raw materials that have been used throughout the ages to spin textiles with linen, wool, silk, artificial silk, cell wool and milk wool. The depiction of the various substances is richly illustrated with cheerful drawings and enlightening, schematic drawings of the processes behind the technical production of the creation of the substances. Cell wool, commonly referred to simply as "cell wool", which in the latter part of the war came to play a major role in the textile industry, was made with spruce cellulose as a raw material, and after a mechanical and chemical process, the wood mass was transformed into fine threads, which one could spin and weave textile fabric off.

Above is the front page and table of contents for Allan Johnsen's book "Fra Dyreskind til Celleuld", Schønbergske Forlag 1942.

The book's illustrator was advertising designer Finn Rosenberg Ammitsted, who at the time was employed by the advertising agency Monterossi.

Two examples of Finn Rosenberg's illustrations, resp. pages 70 and 75, for Allan Johnsen's book "Fra Dyreskind til Celleuld".

Next, I must allow myself to quote the following sections from the cartoon history:

The cartoon "Fyrtøjet": Problem Times

The first scenes that Marius Holdt recorded on his own newly installed trick table at the design studio in Frederiksberggade 28 were, as previously mentioned, the scenes with the astrologer at Rundetårn and the guard who round a street corner, which Bjørn Frank Jensen had drawn and animated already at the end of 1942 - the beginning of 1943. The situation was, however, that the only kind of color film that could be used at that time was Agfa Color, but in this country Agfa did not have the special 35mm color developing and copying machines needed to get the negative film developed and copied. This could only happen at Agfa's laboratories in the UFA Stadt in Berlin. The contact for this was established via UFA’s Danish department, which was housed in the same building as Nygade Teatret, Nygade 3 in Copenhagen. Later, when conditions in the summer / autumn of 1944 deteriorated in Denmark as a result of an increasing number of strikes and popular uprisings and riots, Allan Johnsen personally undertook the risky task of transporting the exposed film negative to Berlin and after the development back to Copenhagen. He also brought home the working copy, which was tentatively edited by Henning Ørnbak, while the negative editing had to wait until further notice.

In this self-caricature from 1944-45, Finn Rosenberg has sought to give an impression of the great difficulties involved

in obtaining negative and positive raw films for the production of "Fyrtøjet". In addition, the exposed film could only be

developed and copied at Agfa in Berlin, because laboratory equipment for the production of color films was not yet available in Denmark.

- The drawing was donated in 2003 to © Dansk Tegnefilms Historie by Mrs Gerda Johnsen.

During the same period, the situation had also worsened in Germany itself, with roughly nocturnal, Allied bombings of the big cities. Despite this, Allan Johnsen traveled tirelessly to Berlin - a few times accompanied by Finn Rosenberg. He constantly continued his daily work as if there was peace and no danger. This was probably due to the fact that at that time it was not yet generally known in Denmark what terrible fate had befallen and still befallen Europe's Jewish population and other ethnic groups. But no sensible explanation can be given here as to how it could be done under the sometimes very tense conditions during the occupation that individual people, such as also Finn Rosenberg, untouched could continue their daily work and move around freely.

During one of Johnsen's stays in Berlin in the spring of 1944, when the Allied bombing of German cities had begun, e.g. one of UFA's laboratories hit by a hit that completely destroyed the building. Allan Johnsen had Finn Rosenberg with him as a travel companion, and during the bombing they were in the laboratory building's shelter with some of the place's German employees. Neither of the two received as much as a scratch, but several Germans were killed on that occasion and several were seriously injured. The experience, however, meant a shock for Allan Johnsen and Finn Rosenberg, but especially for the latter, it was a traumatic experience that he probably never recovered from. Despite this, he continued his daily drawing work as long as it was required, and it was at least until after the liberation on May 5, 1945, yes, even longer, because Finn Rosenberg remained employed by Dansk Farve- og Tegnefilm A/S so far.

Picnic to Fiskebæk Kro

Work and life went on in the quiet daily routine, which, however, could not completely obscure what was going on out in the real world. In Copenhagen, sabotage and counter-sabotage had been taken seriously, and it was soon to culminate in a highly unpleasant situation for the population. But before it got this far, at the beginning of June 1944, there was a small group of artists at the design studio in Frederiksberggade 28, who had taken the initiative to arrange a picnic for the staff. The trip was to go to Fiskebæk Hotel by Farum, where according to the plan you were to have dinner and otherwise have fun and enjoy yourself.

On the Saturday when the picnic was to take place, work was done as usual at the design studio, with the exception that some of the employees around lunchtime began to take in advance of the wet goods. It was especially the then widely used Danish port wine, called "Pullimut", which was popular, but also a Danish-produced gin, but without tonic water, which was put to life as a 'warm-up' to the afternoon's hopeful and harmless fun and trouble.

For my own part, it had not really been the intention that I should go on the picnic, partly because I did not feel like it, and partly because I did not think I had nice enough clothes to wear for the purpose. Therefore, unlike the other staff in the studio, I was only wearing my daily work clothes that day. One of the cartoonists, I do not remember who, however, thought that I should at least taste the wet goods too, and he therefore filled a beer glass with gin, which he offered me. Since I did not know or knew what gin was for anything, and by the way, I thought it tasted a little sweet, I drank the entire contents of the glass as if it were soda. A few minutes later, I felt as if the drawing room were spinning around me, and I became dizzy and could only hear my colleagues' laughter as a distant and slightly distorted sound, apparently amused at me and my reaction.

However, the caring colleague, "Jømme", did not think it was funny, and he made sure that I got a glass of milk to drink, which fortunately prevented me from vomiting, just as it helped me to get fairly clear in my head again . "We think you should take the trip anyway!" there were several of my colleagues who urgently said. "Yes, I would like that too!" I replied, adding, "But then I must first go home and change my clothes!" “Do it and meet us at Nørrebros Station! The train departs at 15, so hurry up! ” said i.a. Helge Hau and several others.

Just that day, I happened to be taking the tram to work, and that was lucky, because I would not have been able to cycle home in the condition I was in. Now, therefore, there was a heady attempt on my part to reach tram line 8 or 13 over by Vester Boulevard on the other side of Rådhuspladsen, but as I approached the stop, the tram started. In my dizzy state, I felt and thought that there would be no time for me to wait for the next tram, so I set off to run towards the next stop, hoping that another tram would appear in the meantime. up I could take with me. This is how I ran from stop to stop via Vester Boulevard, Gyldenløvesgade, Åboulevarden, Rantzausgade and Jagtvej and home to Jægersborggade, without ever getting hold of one of the trams that occasionally passed me.

But I got home, and I also got dressed, after which the run continued over through Stefansparken and over to Nørrebrogade and to Nørrebros Station. A run that in its last stage probably took me about a quarter of an hour. On the other hand, I was completely exhausted and breathless when I reached the place and together with my already arrived colleagues could get on the train to Farum. They were dying of laughter when they heard about what had happened to me since I left the design studio a good hour earlier. Even I felt a little sleepy.

Here are some of my co-workers gathered in front of Nørrebro's Station, where they were waiting for me to show up.

It is from left Børge Hamberg (with his back to), Finn Rosenberg (with his hat), Bjørn Frank Jensen, Erik Mogensen,

(presumably) Bente Bentsen, Erling Bentsen, Birthe Grove, an unidentified lady, Bodil Rønnow and Bjørn Jensen (”Largo”).

It is unfortunately not much I remember from the picnic, only that it was enjoyable and that my many colleagues enjoyed and amused themselves excellently. House photographer "Jømme", who apart from a few pictures, consistently never appears in the photos taken during the production of "Fyrtøjet", has - perhaps intentionally - among others not included me in any of the photos he took it in the afternoon and evening at Fiskebæk Hotel.

After dinner and coffee, some of the colleagues had fun sailing around and having fun on Farum Lake, while some later also wanted to use the opportunity to play football. Later there was dancing to music by a very well-playing pianist named Henning Ørnbak, who apparently knew a lot of dance melodies by heart, because he played almost uninterruptedly for several hours. There was also entertainment in the form of choir singing by N.O.Jensen, Helge Hau, Børge Hamberg, Peter Toubro, Anne Lise Clausen and Bjørn Frank Jensen to the accompaniment of a few members of the ‘house orchestra’: Erling Bentsen and Finn Rosenberg. If Henning Ørnbak did not also contribute to the piano, I do not remember, but he has probably done so now.

Here is the choir founded for the occasion, which to accompany guitar, violin and possibly piano, sang our homeland's melancholy as well

as cheerful songs that afternoon, when the staff from Dansk Farve- og Tegnefilm A / S 'drawing studio in Frederiksberggade 28 was on an

excursion to Fiskebæk Hotel near Farum. From left are Erling Bentsen (guitar), N.O.Jensen, Helge Hau, and (hidden behind this)

Børge Hamberg, Finn Rosenberg (with his back to; violin), Peter Toubro, Anne Lise Clausen and Bjørn Frank Jensen.

Some preferred a refreshing and invigorating sailing trip in rowing boats on the fairly quiet Farum Lake. From the left is (probably)

a horny and water-spraying Helge Hau, and in the boat is Erling Bentsen, (probably) Birthe Grove, (who is rowing) Børge Hamberg

Here is another rowing boat on Farum Søen's dares, now with (probably) Bodil Rønnow by one oar and Otto Jacobsen by the other oar.

Here are some of the colleagues about to start kicking football, but it has only been possible for me to identify the five of the people in the picture.

From left unidentified gentleman, (in the background) Birthe Grove, (probably) Finn Rosenberg, (half hidden behind this) Børge Hamberg,

(half hidden) unidentified, Mogens Mogensen and Preben Dorst.

My memory of the further course of the picnic and of how and when we traveled by train home again has disappeared in the fog of time - and perhaps then also of alcohol. However, I have a faint hint of remembrance that the trip home late in the evening took place with song and in horny merriment, and at least we came home, and I with, home to my worried mother, who probably - rightly - seemed her young son was about to venture into the not always equally innocent and harmless world of adults.

Problem times

As for "Fyrtøjet", the energy and optimism of the animators and other staff could not, however, in the long run hide the unpleasant fact that the work on the film did not actually go fast enough. During the late summer of 1944, it became very clear to the management of Dansk Farve- og Tegnefilm A/S, which first and foremost means for Allan Johnsen and Peter Toubro that the original production plan and the original budget would be exceeded quite considerably. . At that time, there were major unforeseen financial problems at Dansk Farve- og Tegnefilm A/S, especially because the production time, as mentioned, dragged out and therefore in the meantime a lot of staff were engaged for in-between drawing and for inking and coloring.

But the larger number of employees did not in itself solve the problems that Dansk Farve- og Tegnefilm A/S found itself in, but actually made these larger, as the many employees, despite a moderate salary, of course weighed on the already sluggish cash balance. . It was primarily the animators who made up the main problem because no matter how much they tried to get the job done quickly, it was still limited what could be drawn and animated per. day. But from the management's point of view, they had to promote production as much as possible, so that the entire "Fyrtøjet" project would not end in failure and bankruptcy.

Almost in desperation, Allan Johnsen and Peter Toubro chose the psychologically worst solution to the problems, having had some circular cardboard discs made, which were printed with the numbers 0-50 in the periphery, and with a removable pointer in the center. These cardboard dials were soon dubbed "control clocks" because they actually looked like dials. The idea was that each and every artist, but especially the animators, should move the hand from 1 to 2 to 3, etc., as the number of drawings grew, so that one could ascertain whether the artist in question had fulfilled his daily "quota". Working hours were Monday-Friday at 8-17 and Saturday at 8-14.

Understandably, this scheme aroused the indignation and anger of the employees, and some simply refused to accept this working condition. Firstly, because there was a big difference in how long it took to draw the individual drawing, which could be a difficult figure or possibly several figures at the same time. Secondly, because not all the characters were equally experienced and experienced. The management did not really demand a certain number of drawings per. day, but it was in the air that not too much had to be done out of the individual drawing, and that it therefore depended more on quantity than quality.

Anger over the factory-like scheme led to virtually all creative staff plus a few assistants deciding to form a kind of professional counterweight to the management's unpopular dispositions. To that end, a crisis meeting was held on a Saturday afternoon in June 1944 at the restaurant "Sluk Efter" on Strandvejen in Hellerup. When it was warm weather, people sat outside, which at the same time had the advantage that no unauthorized person would be able to hear what was being said on that occasion. The participants were Arne "Jømme" Jørgensen, Bodil Rønnow, Erilng Bentsen, Børge Hamberg, Bjørn Frank Jensen, Otto Jacobsen, Preben Dorst, Mogens Mogensen, Finn Rosenberg, Kjeld Simonsen and Harry Rasmussen.

A 'historic' meeting, which took place on a Saturday afternoon in August 1944 at the restaurant "Sluk Efter" on Strandvejen in Copenhagen.

The cartoonists at Dansk Farve- og Tegnefilm A/S agreed that a professional association should be started as a counterweight to the management's

arbitrary demands and conditions. A 'committee' was set up to find out how to get such a union up and running, and what counter-requirements

and conditions the management was supposed to meet in order not to risk the employees quitting their jobs. From left and around the table

are Otto Jacobsen (with his back to), Harry Rasmussen, Kjeld Simonsen (Simon), Bjørn Frank Jensen, Bodil Rønnow,

Erling Bentsen, Preben Dorst, Finn Rosenberg (with hat) and Mogens Mogensen.

Same situation as in the picture above: From left and around the table are Preben Dorst, Finn Rosenberg (with hat), Mogens Mogensen,

Still the same situation as in the two previous photos. From left and around the table are (in the background) Erling Bentsen, Preben Dorst,

Finn Rosenberg (still wearing a hat), Mogens Mogensen and Otto Jacobsen, who are looking up at the photographer, Arne "Jømme" Jørgensen,

At the meeting, it was agreed to reject what was considered the management's unreasonable demands for increased efficiency, and demand that the famous cardboard discs be removed. Otherwise, a strike would be launched unless the management would and could come up with another and better proposal for solving the current problems. The animators had at least one strong card on hand, as at that time there were actually no other experienced and relatively experienced animators - apart from Müller and Mik, who were out of the picture - in the Kingdom of Denmark, than the people who are Mentioned above. When the management was presented on Monday with the animators' decision and demands, which were presented by Børge Hamberg on behalf of themselves and employees, Johnsen and Toubro realized that there was not much to do but give up the introduced control measure and remove the cardboard discs from the drawing desks. It was Toubro who, with a slightly embarrassed smile, personally walked around the drawing room and peeled off the discs. The situation had developed in such a way that there was cold air around him in the form of unusual silence and unapproachability as soon as he appeared, and this also applied and perhaps especially when Allan Johnsen appeared in the drawing room. Therefore, both chose a transition to pay visits only when such were unavoidable due to the nature of the work.

It was especially a cartoonist like the otherwise sociable Otto Jacobsen who showed great reluctance or even hostility towards Johnsen, whom he made slanderous drawings of and nicknamed "The Tomato". The latter was due to the fact that Allan Johnsen had a strong reddish complexion, probably because he was an outdoor person who moved around a lot, especially when he practiced his beloved rowing sport, and perhaps also because he took high mountain sun in the autumn and winter seasons. Personally, I felt a little sorry for Johnsen over the obvious harassment he was subjected to, especially from Otto Jacobsen's side. The leading cartoonists did not exactly participate in the harassment, but showed in their own quiet way that they were dissatisfied with Johnsen's leadership style. It was also clear to see that he felt uncomfortable with the situation, but as he was at the same time a proud and defiant nature, he reacted with a mixture of arrogance and assumed indifference. However, not to me, who persistently had a good and friendly relationship with the "father figure".

However, the problem with the delayed production of "Fyrtøjet" was not solved with the measures that had been taken so far, on the contrary, the previous good working climate at the design studio had suffered serious damage. But in order to remedy this and to show a certain kindness, Allan Johnsen and Peter Toubro on the one hand and Børge Hamberg, Bjørn Frank Jensen and Finn Rosenberg on the other, agreed to propose to the employees an overtime scheme with full overtime pay. In any case, this proposal was accepted by all creative staff on a voluntary basis, and as I was now counted among these, it also applied to me. This meant that the daily working hours Monday to Friday came to last from kl. 8 am and until 23 pm, which means 6 overtime hours daily, except on Saturdays, when working hours were still at. 8-14. The overtime began from around September 1944 and lasted until the spring of 1945.

This is followed by a selection of what Finn Rosenberg especially drew and painted from backgrounds in the film's production period, ie. from around the autumn of 1943 to around June 1945:

Throughout the production process, Finn Rosenberg was busy drawing layouts and painting backgrounds, and it was gradually for quite a few, estimated at about 500 backgrounds. But as the weeks and months went by, it became clear that he would not be able to overcome all the backgrounds alone. Therefore, first Henning Dixner and then also Otto Jacobsen began to draw layouts and paint backgrounds, well, in parallel with in-between drawing and animation, respectively.

Here is a good and representative example of one of the many backgrounds that Finn Rosenberg in the years 1943-45 drew and painted

for "Fyrtøjet". He went about his work thoroughly and carefully, using only watercolors and painting techniques.

The picture shows the large tower building to the king's castle, with the princess' balcony as the central one.

Among the many backgrounds for "Fyrtøjet", which Finn Rosenberg painted in the years 1943-45, were e.g. above picture of

Vester Vold with Vester Port, which gave access to the city from its western side. In the background are seen from the left Frue Kirke,

which before 1801 had a spire, and Rundetårn, in whose observatory at the top part of the action of the "Fyrtøjet" film begins.

View over Copenhagen at night, seen from the end of Købmagergade, where Rundetårn is located. The castle with the many towers is seen

Towering in the background. This is where the astrologer is in a hurry to get there, to soon tell the king and queen that he has

seen in the stars that the princess will marry a simple soldier. - The background is painted by

Another example of Finn Rosenberg's many fine watercolor backgrounds for "Fyrtøjet". Here is the inn where the soldier is staying.

The inn that the young Andersen himself stayed at when he first came to Copenhagen in 1819 as a 14-year-old was located in Vestergade

and was called "Gardergården". It is undoubtedly this, like so many other memories from Copenhagen, that forms the basis for the poet's

Here is a view of Copenhagen's rooftops with Nikolaj Church Tower towering to the right in the picture. Finn Rosenberg used old copper engravings

when he around the autumn / winter of 1944. painted this background for "Fyrtøjet". H.C. Andersen lived in 1827-28 as a lodger with a widow

in Vingårdsstræde, where he had a very small attic room, but with an unobstructed view of the then spireless Nikolaj Tower.

The spire was burned during the Copenhagen fire in 1795 and was not rebuilt until 1909.

In the picture above, we are in Nikolaj Kirkeplads, where the lower part of the church tower is seen to the right, while the clothing retailer's shop

is located in the building on the left. It is in this shop that the soldier exchanges his uniform for civilian clothes. After graduating in 1828, H.C. Andersen

became a private and from 1830 a non-commissioned officer in the King's Life Regiment (Life Guards), and had on that occasion acquired a used uniform.

He probably sold it after retiring from the service in 1834, and instead acquired some nice civilian clothes. He was very careful every day with his attire

and his appearance. - As a template for this background, Finn Rosenberg used both old copper engravings and sketches

he had drawn and painted on the site itself.

At Nikolaj Plads, the soldier has met three record makers, whose suggestion that on a ride with the horse-drawn carriage they would like to

show him the city and its sights, and also Dyrehavsbakken in Klampenborg, he naively falls for. On the drive through the city, you pass the Børsen,

Shortly afterwards, the soldier and his three friends drive past Rosenborg on the road towards Østerbro and further along Strandvejen to Dyrehaven.

Both Børsen and Rosenborg drew and painted Finn Rosenberg on the basis of sketches from the two places.

The horse in the foreground is drawn and animated by Preben Dorst

Here is the scene of the older Royal Theater, seen from the audience room. The soldier, who wants to be on the notes, is a guest at an opera performance,

but falls asleep out of sheer boredom. This has hardly been the case for the eager theater-goer H.C. Andersen, who not least liked opera performances a lot.

At times, he came to the theater almost every night, where he accompanied the repertoire, not least after some of his own singing and acting

performances had begun. It gave him free admission and a permanent place in the parterre, where many other

deserving and famous people also had their permanent seats.

The stage of the older Royal Theater seen from the backdrop. The busty solo singer stands in the middle of the stage and delivers her aria.

The background is painted by Finn Rosenberg, while the singer is drawn and (unfortunately far too little)

In this film image, a total of the throne room with the king and queen sitting under the canopy is seen in the background, and courtiers standing

on both sides along the walls. The scene belongs to the sequence in which the king is shaved in the morning, and in which he simultaneously holds

an audience for ministers and staff at the court. - There is no animation in this scene, but the fixed figures are drawn by Bjørn Frank Jensen,

Above is a part of the staff who worked at the design studio in Frederiksberggade 28 from the late summer of 1943. It is sitting in the front from the left:

Børge Hamberg, Frede Henning Dixner, Harry Rasmussen and Finn Rosenberg. Standing from left are Mogens Mogensen, Preben Dorst,

Otto Jacobsen, Karen Margrethe Nyborg, Kaj Johnsen, Bjørn Frank Jensen and Torben Strandgaard.

In conclusion, it must be said and emphasized that Finn Rosenberg has left a lasting memory by virtue of his great influence on the graphic design of the cartoon "FYRTØJET". It is also a significant reason why he has received a biographical mention here, which several other of the film's creative staff have unfortunately not received for various reasons, although they could also have deserved it.

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