The Seventh Seal (aka Det sjunde inseglet)
If you know of one Bergman film – this one should be it. This is his most popular and most iconic work. The image of Death and a knight playing chess on a beach is one of the most well know images in the history of world cinema. But is the movie worth of all the hype? Well, without wanting to spoil the rest of the review my answer to this question should be pretty obvious early on.
The movie opens with the knight Antonius Block (the legendary Max Von Sydow) and his cynical squire, Jöns (Gunnar Björnstrand) returned to their home country after fighting in the Crusades. Death (Bengt Ekerot) appears before Block with the intention of claiming him, but Block challenges Death to a game of chess – if Block wins Death will let him live, if he loses then Death will claim him and those he travels with. As Death is presumably a very busy chap, he can only play chess intermittently with Block, given Block the opportunity to travel across the plague-ridden country to return to his home and his wife. His story becomes linked with that of a bunch of travelling Players, including Jof and Mia (Nils Poppe and Bibi Andersson) who are trying to make a better life for their infant son. Another trouble for Block is that years of Crusading have destroyed his faith in God and religion, his journey is both a literal one to return to home and a metaphysical one as he searches for meaning and trying to put off Death as long as he can.
My synopsis probably won’t have done the film justice, it’s a film that’s very hard to sell to people because it seems so bleak and downbeat, when it facts it’s not just a momentous slog – the movie is full of light and dark, it is by turns horrifying and hilarious. There are dark scenes of despair and lighter sense full of laughter. The character of Death is pitch perfect – he is played as wryly sarcastic, in complete contrast to the sombre expectations.
I first watched this film when I was about 15 or 16. I was, and always have been, fascinated with cinema classics. I feel the need to watch them for myself to make up my own mind, be it good or bad. The Seventh Seal is a hard film to ignore; its impact is still resonating today. I loved it from first viewing. It completely knocked me sideways. Like so many others I had expected some dark and bleak medieval road movie, and was surprised to discover it was so much more fully rounded and multi-faceted than that. The acting is superb, as mentioned before the characterisation of Death is a stroke of genius; Max Von Sydow carries the weight of the movie’s themes and makes an engaging lead character (I call him lead but really the film is an ensemble with the character of Block at the character of it) and Nils Poppe is fantastic as the disarmingly naïve Jof. The movie is well shot throughout, full of images of light and dark. There many memorable moments, from the burning of a young girl believed to be a witch, to an actor pleading with Death for a little more time, to the famous final scene of the dance of Death.
The Seventh Seal is one of the most intelligent, beautiful, memorable, engaging, well-rounded films I’ve ever seen. I love it. Even since I first saw it, it’s been a permanent fixture in any ‘top 10 films’ list I’ve drawn up.
If you only see one Ingmar Bergman film in your life – make it this one.
Rating- 10/10
1) The Seventh Seal
2) Smiles of A Summer Night
3) Waiting Women
4) Prison
5) Summer With Monika
Wednesday, 2 June 2010
Thursday, 27 May 2010
Smiles of A Summer Night (1955)
Smiles Of A Summer Night (aka Sommarnattens Leende)
For me, this is the first truly great film that Bergman made. Looking back, his previous films feel like draft versions of this film, this is none more noticeable than in the film Waiting Women; in that film Gunnar Björnstrand and Eva Dahlbeck play an arguing married couple who get trapped in an elevator. That section of the film was clearly the highlight and Smiles of a Summer Night riffs on the same themes – the politics of relationships and love as well as infidelity.
Fredrick Egerman (Gunnar Björnstrand) is lawyer married to the beautiful and young Anne (Ulla Jacobsson). He has a proto-emo son, Henrik (Björn Bjelfvenstam), who is in training to become a priest. Fredrick’s former mistress, the actress Desiree Armfeldt ( Eva Dahlbeck) returns to town with a plan in mind to do a ‘good deed’ for the Egerman’s, as well as her current paramore Count Malcolm (Jarl Kulle) and his jealous wife (Margit Carlqvist). Events come to head at a part on a (guess what?) summer night.
A friend of mine said they found the film ‘settling and unsettling’, and I can understand where they’re coming for – it’s a funny film but full of melancholy. It is funny, I always laugh during it (though, I must confess, I’ve seen this film 3 or 4 times, but only once when sober, sorry, Ingmar) but heartbreaking in a warm way. At the end of the film (slight spoilers) couples do end up together, but one couple doesn’t quite get the romantic Hollywood ending, there is a darker edge to their relationship. I generally hate romantic comedies, but I love this because of the darkness and melancholy. This film contains more adultery than any other film Hollywood out in that year and maybe even the decade.
Gunnar Björnstrand and Eva Dahlbeck are a joy to watch together. Their scenes always sparkle – there is real chemistry between them. A big mention must go to Harriet Andersson as the feisty maid, she lightenes up every scene she’s in.
Well, I think it’s great. It’s not everyone’s cup of tea, but, damnit, this blog is about my opinion of Bergman, not yours.
Rating- 9/10
Top 5-
1) Smiles of Summer Night
2) Waiting Women
3) Prison
4) Summer With Monika
5) A Lesson In Love
For me, this is the first truly great film that Bergman made. Looking back, his previous films feel like draft versions of this film, this is none more noticeable than in the film Waiting Women; in that film Gunnar Björnstrand and Eva Dahlbeck play an arguing married couple who get trapped in an elevator. That section of the film was clearly the highlight and Smiles of a Summer Night riffs on the same themes – the politics of relationships and love as well as infidelity.
Fredrick Egerman (Gunnar Björnstrand) is lawyer married to the beautiful and young Anne (Ulla Jacobsson). He has a proto-emo son, Henrik (Björn Bjelfvenstam), who is in training to become a priest. Fredrick’s former mistress, the actress Desiree Armfeldt ( Eva Dahlbeck) returns to town with a plan in mind to do a ‘good deed’ for the Egerman’s, as well as her current paramore Count Malcolm (Jarl Kulle) and his jealous wife (Margit Carlqvist). Events come to head at a part on a (guess what?) summer night.
A friend of mine said they found the film ‘settling and unsettling’, and I can understand where they’re coming for – it’s a funny film but full of melancholy. It is funny, I always laugh during it (though, I must confess, I’ve seen this film 3 or 4 times, but only once when sober, sorry, Ingmar) but heartbreaking in a warm way. At the end of the film (slight spoilers) couples do end up together, but one couple doesn’t quite get the romantic Hollywood ending, there is a darker edge to their relationship. I generally hate romantic comedies, but I love this because of the darkness and melancholy. This film contains more adultery than any other film Hollywood out in that year and maybe even the decade.
Gunnar Björnstrand and Eva Dahlbeck are a joy to watch together. Their scenes always sparkle – there is real chemistry between them. A big mention must go to Harriet Andersson as the feisty maid, she lightenes up every scene she’s in.
Well, I think it’s great. It’s not everyone’s cup of tea, but, damnit, this blog is about my opinion of Bergman, not yours.
Rating- 9/10
Top 5-
1) Smiles of Summer Night
2) Waiting Women
3) Prison
4) Summer With Monika
5) A Lesson In Love
All Apologies, Ingmar
It seems strange that it was a year ago I decided to start this blog. I was just a crazy kid with a passion for Bergman movies. Now I'm a... well, older crazy kid with a passion with a passion for Bergman movies. Since the last blog entry (11 months ago) I haven't stopped watching Begrman films, I've just stopped reviewing them. I guess I lost inclination. I can't really explain, it was just one of those things that falls upon the wayside as so often things do in life.
To make this simpler – I’ve decided to start this up again because I have time on my hands and a renewed interest in Bergman films. The other day I watched Smiles of A Summer Night, which just so happens to be the next film in my collection that I need to review. What luck, eh? So I shall make an effort to continue with my reviewing of Bergman’s films, you lucky people.
All apologies, Ingmar. It was nothing personal.
P.S. While trying to publish this entry I have discovered I'd forgotten all I'd learnt about blog formatting, so this make take a while to get right.
To make this simpler – I’ve decided to start this up again because I have time on my hands and a renewed interest in Bergman films. The other day I watched Smiles of A Summer Night, which just so happens to be the next film in my collection that I need to review. What luck, eh? So I shall make an effort to continue with my reviewing of Bergman’s films, you lucky people.
All apologies, Ingmar. It was nothing personal.
P.S. While trying to publish this entry I have discovered I'd forgotten all I'd learnt about blog formatting, so this make take a while to get right.
Wednesday, 24 June 2009
Dreams (1955)
Dreams (aka Journey Into Autumn aka Kvinnodröm)
This was a very strangely middle of the road film. I've seen far, far worse before, but it wasn't a great film either. If anything it was just a pleasent way of spending 84 minutes. It was a very mild film. There were two plots concerning Eva Dahlbeck's fashion photographer and her model Harriet Andersson, and both their stories are essentially variations of the same theme.
The two leading actresses are joined by Gunnar Björnstrand, making this another film with Bergman's current favourite trio of actors. That said, I really liked Björnstrand in this movie, but I'm not quite sure why. I think it may be the absolute look of fear on his face while on a rollercoaster.
The only other thing in the movie that stood out for me was how much Eva Dahlbeck's character reminded me of an ex-girlfriend. So I found Dahlbeck's character quite creepy.
A pleasent film.
Rating- 6/10
Top 5-
1) Waiting Women
2) Prison
3) Summer With Monika
4) A Lesson In Love
5) Dreams
This was a very strangely middle of the road film. I've seen far, far worse before, but it wasn't a great film either. If anything it was just a pleasent way of spending 84 minutes. It was a very mild film. There were two plots concerning Eva Dahlbeck's fashion photographer and her model Harriet Andersson, and both their stories are essentially variations of the same theme.
The two leading actresses are joined by Gunnar Björnstrand, making this another film with Bergman's current favourite trio of actors. That said, I really liked Björnstrand in this movie, but I'm not quite sure why. I think it may be the absolute look of fear on his face while on a rollercoaster.
The only other thing in the movie that stood out for me was how much Eva Dahlbeck's character reminded me of an ex-girlfriend. So I found Dahlbeck's character quite creepy.
A pleasent film.
Rating- 6/10
Top 5-
1) Waiting Women
2) Prison
3) Summer With Monika
4) A Lesson In Love
5) Dreams
Monday, 22 June 2009
A Lesson In Love (1954)
A Lesson In Love (aka En lektion i kärlek)
This is one of Bergman's comedic films. Bergman is never exactly a master of comedy, sure there are funny moments in his films, but would I say he makes funny films? No, I wouldn't. While I liked this film and chuckled a couple of times, it certainly wasn't a laugh-out-loud funny movie.
Bergman teams up Gunnar Björnstrand and Eva Dahlbeck as another bickering married couple, and once again infidelity is the major problem. Doctor David (Björnstrand) has an affair with a younger woman to the upset of Marianne (Dahlbeck). On a train journey together David pleads with Marianne not to go through with their divorce, and their marriage is told in non linear flashbacks.
It's very hard to review this movie without the knowledge of the later films of Bergman that I have seen, because in some senses, this movie is like a test run of another that will arrive later. Having seen that later film I expected Björnstrand and Dahlbeck to be a joy to watch, but it was not as engaging as was that, or even Waiting Women. I think the problem lies with the source material- Bergman hasn't got the comedy/serious balance quite sorted yet.
There's one section of the film I really loved- the flashback to David's father's birthday. It was a lovely sequence of family life. It was very warm and charming. It reminded me of the family moments in Leo Tolstoy's book. I always find them quite charming.
Also for a 50's movie, it's surprisingly liberal! It's something an American mainstream film would never dream of daring to do! So hats off for that one, Ingmar.
Rating- 7/10
Top 5-
1) Waiting Women
2) Prison
3) Summer With Monika
4) A Lesson In Love
5) To Joy
This is one of Bergman's comedic films. Bergman is never exactly a master of comedy, sure there are funny moments in his films, but would I say he makes funny films? No, I wouldn't. While I liked this film and chuckled a couple of times, it certainly wasn't a laugh-out-loud funny movie.
Bergman teams up Gunnar Björnstrand and Eva Dahlbeck as another bickering married couple, and once again infidelity is the major problem. Doctor David (Björnstrand) has an affair with a younger woman to the upset of Marianne (Dahlbeck). On a train journey together David pleads with Marianne not to go through with their divorce, and their marriage is told in non linear flashbacks.
It's very hard to review this movie without the knowledge of the later films of Bergman that I have seen, because in some senses, this movie is like a test run of another that will arrive later. Having seen that later film I expected Björnstrand and Dahlbeck to be a joy to watch, but it was not as engaging as was that, or even Waiting Women. I think the problem lies with the source material- Bergman hasn't got the comedy/serious balance quite sorted yet.
There's one section of the film I really loved- the flashback to David's father's birthday. It was a lovely sequence of family life. It was very warm and charming. It reminded me of the family moments in Leo Tolstoy's book. I always find them quite charming.
Also for a 50's movie, it's surprisingly liberal! It's something an American mainstream film would never dream of daring to do! So hats off for that one, Ingmar.
Rating- 7/10
Top 5-
1) Waiting Women
2) Prison
3) Summer With Monika
4) A Lesson In Love
5) To Joy
Thursday, 28 May 2009
Summer With Monika (1953)
Summer With Monika (aka Sommaren Med Monika)
It's been a while since my last review. I think it's because I ODed on Bergman films and needed a break. Well, the break has been taken and I'm back. Summer With Monika is one film I've seen before, and I think I may have enjoyed it a little more on second viewing. I think the first time I watched it I thought it may actually be a happy film (well, it did have 'Summer' in the title), but it isn't quite that.
Like characters from a Bruce Springsteen song, young couple Harry and Monika (Åke Fridell and the great Harriet Andersson) forsake their parents, their jobs and the city and escape into the country on a boat. The plot is spilt into thirds- before they go to the country, when they're in the country and life in the city again. The country section is the longest and probably the best. The directing is more more leisurely and relaxed than in the city. In the city scenes it's almost as if Bergman isn't quite as comfortably with the material.
The film is a clear realist piece, but Bergman breaks this in two shots towards the end of the movie and it makes quite the impact. Without wanting to give too much away (as this one shot is worth watching the film for) Monika turns and looks directly into the camera, and it holds her in close up for a good 20 seconds I should imagine. The context of it combination with the expression on Harriet Andersson's face make it so powerful. It's the best bit of the film.
A good film, good moments and Harriet Andersson is great.
Rating- 6/10
Top 5-
1) Waiting Women
2) Prison
3) Summer With Monika
4) To Joy
5) Music In Darkness
It's been a while since my last review. I think it's because I ODed on Bergman films and needed a break. Well, the break has been taken and I'm back. Summer With Monika is one film I've seen before, and I think I may have enjoyed it a little more on second viewing. I think the first time I watched it I thought it may actually be a happy film (well, it did have 'Summer' in the title), but it isn't quite that.
Like characters from a Bruce Springsteen song, young couple Harry and Monika (Åke Fridell and the great Harriet Andersson) forsake their parents, their jobs and the city and escape into the country on a boat. The plot is spilt into thirds- before they go to the country, when they're in the country and life in the city again. The country section is the longest and probably the best. The directing is more more leisurely and relaxed than in the city. In the city scenes it's almost as if Bergman isn't quite as comfortably with the material.
The film is a clear realist piece, but Bergman breaks this in two shots towards the end of the movie and it makes quite the impact. Without wanting to give too much away (as this one shot is worth watching the film for) Monika turns and looks directly into the camera, and it holds her in close up for a good 20 seconds I should imagine. The context of it combination with the expression on Harriet Andersson's face make it so powerful. It's the best bit of the film.
A good film, good moments and Harriet Andersson is great.
Rating- 6/10
Top 5-
1) Waiting Women
2) Prison
3) Summer With Monika
4) To Joy
5) Music In Darkness
Friday, 17 April 2009
Waiting Women (1952)
Waiting Women (aka Secrets of Women aka Kvinnors Väntan)
At last a more mature and interesting film from Bergman. He hasn't quite shaken off the 'young couple in love' obsession, but he's found a way to do it more interestingly.
The framing of the story is a group of women waiting for their husbands to return home, and discuss relationships, especially the problem of infidelity. There are three main stories told, the first and the third about infidelity, but the second is the young couple in love section. The second section features regulars Birger Malmsten and Maj-Britt Nilsson as another young couple, but this section is told (mostly) without dialogue, so becomes gestures and shows which is more interesting. But the best episode in the film has to be the third one in which Eva Dahlbeck and Gunnar Björnstrand play a married couple who accidentally get stuck in a life for the night. It's expertly played and quite funny as well as saying something more serious about relationships in general.
I must admit I do like episodic structures in movies, but I find that by and large they aren't done too well. The main trouble is that not all of the episodes are of equal quality, and I think that is a problem this film has with the first episode. I also do have a liking for ensemble casts in films and this does have a good ensemble cast, and most of the players are given their moment in the spotlight, but in larger scenes they work well together.
A good film, and hopefully a good indication of things to come.
Rating- 7/10
Top 5-
1) Waiting Women
2) Prison
3) To Joy
4) Music In Darkness
5) Torment
At last a more mature and interesting film from Bergman. He hasn't quite shaken off the 'young couple in love' obsession, but he's found a way to do it more interestingly.
The framing of the story is a group of women waiting for their husbands to return home, and discuss relationships, especially the problem of infidelity. There are three main stories told, the first and the third about infidelity, but the second is the young couple in love section. The second section features regulars Birger Malmsten and Maj-Britt Nilsson as another young couple, but this section is told (mostly) without dialogue, so becomes gestures and shows which is more interesting. But the best episode in the film has to be the third one in which Eva Dahlbeck and Gunnar Björnstrand play a married couple who accidentally get stuck in a life for the night. It's expertly played and quite funny as well as saying something more serious about relationships in general.
I must admit I do like episodic structures in movies, but I find that by and large they aren't done too well. The main trouble is that not all of the episodes are of equal quality, and I think that is a problem this film has with the first episode. I also do have a liking for ensemble casts in films and this does have a good ensemble cast, and most of the players are given their moment in the spotlight, but in larger scenes they work well together.
A good film, and hopefully a good indication of things to come.
Rating- 7/10
Top 5-
1) Waiting Women
2) Prison
3) To Joy
4) Music In Darkness
5) Torment
Summer Interlude (1951)
Summer Interlude (aka Illicit Interlude aka Summerplay aka Sommarlek)
Another early Bergman- another young couple in love. As much as the young people in love interests Bergman I don't think in any of these movies it's very convincing or interesting (sorry, Ingmar). The story for this is a dancer (Maj-Britt Nilsson) reminisces when she was younger and had a summer romance with Henrik (Birger Malmsten). Sound familiar? The plot could have been easily interchangeable with To Joy or Port of Call, all of them equally formulaic and predictable.
Despite my major gripe there are some positives about this movie. Maj-Britt Nilsson is quite touching as the younger Marie, and the the dialogue has a nice edge of realism too it. My favourite moment was before the end when Marie and the dance-master (Stig Olin) both sit in their costume and make-up and discuss facades and the masks we wear.
Good in small moments, but otherwise uninteresting and unconvincing.
Rating- 5/10
Top 5-
1) Prison
2) To Joy
3) Music In Darkness
4) Torment
5) Summer Interlude
Another early Bergman- another young couple in love. As much as the young people in love interests Bergman I don't think in any of these movies it's very convincing or interesting (sorry, Ingmar). The story for this is a dancer (Maj-Britt Nilsson) reminisces when she was younger and had a summer romance with Henrik (Birger Malmsten). Sound familiar? The plot could have been easily interchangeable with To Joy or Port of Call, all of them equally formulaic and predictable.
Despite my major gripe there are some positives about this movie. Maj-Britt Nilsson is quite touching as the younger Marie, and the the dialogue has a nice edge of realism too it. My favourite moment was before the end when Marie and the dance-master (Stig Olin) both sit in their costume and make-up and discuss facades and the masks we wear.
Good in small moments, but otherwise uninteresting and unconvincing.
Rating- 5/10
Top 5-
1) Prison
2) To Joy
3) Music In Darkness
4) Torment
5) Summer Interlude
Tuesday, 14 April 2009
To Joy (1950)
To Joy (Till Glädje)
There are three main theme in this film- music, young couple in love and troubled artistry; the latter two being themes visited by Bergman before. The music theme is new, but a strong presence- Bergman was a music lover for most of his life, and in the orchestra scenes of the film there's a clear passion for it.
The film opens as Stig Ericksson (regular supporting player Stig Olin promoted to lead) learns his wife Marta (Maj-Britt Nilsson) has died in an accident. Their story is then told in flashback as we see them as an even younger couple who both play violin in an orchestra lead by Sönderby (Victor Sjöström). Stig dreams of being a great soloist but Marta is content to be in the background. The film charts their relationship over the years.
I thought the first half of the movie was, if I'm quite honest, dull and uninvolving. The character of Stig came off as arrogant, though there was an unsuccessful attempt to make him seem like a loser who wants to be accepted. The second half was much more enjoyable and the music sequences were especially good in that half.
A good film. I'd have rated it a seven if it weren't for the dull first half.
Rating- 6/10
Top 5-
1) Prison
2) To Joy
3) Music In Darkness
4) Torment
5) Port of Call
There are three main theme in this film- music, young couple in love and troubled artistry; the latter two being themes visited by Bergman before. The music theme is new, but a strong presence- Bergman was a music lover for most of his life, and in the orchestra scenes of the film there's a clear passion for it.
The film opens as Stig Ericksson (regular supporting player Stig Olin promoted to lead) learns his wife Marta (Maj-Britt Nilsson) has died in an accident. Their story is then told in flashback as we see them as an even younger couple who both play violin in an orchestra lead by Sönderby (Victor Sjöström). Stig dreams of being a great soloist but Marta is content to be in the background. The film charts their relationship over the years.
I thought the first half of the movie was, if I'm quite honest, dull and uninvolving. The character of Stig came off as arrogant, though there was an unsuccessful attempt to make him seem like a loser who wants to be accepted. The second half was much more enjoyable and the music sequences were especially good in that half.
A good film. I'd have rated it a seven if it weren't for the dull first half.
Rating- 6/10
Top 5-
1) Prison
2) To Joy
3) Music In Darkness
4) Torment
5) Port of Call
Thursday, 9 April 2009
Three Strange Loves (1949)
Three Strange Loves (aka Thirst aka Törst)
Without meaning to pun on the title Three Strange Loves is a strange little film. There are a couple of different plot threads weaved together very flimsily. Often whole sequences feel random, or serve as just a little vignette, with no real function to the main plot (which is vague anyway).
The film is based on short stories by Birger Malmsten, and I think this is the problem. If the scriptwriter (Herbert Grevenus) could have picked just one or two to put the main focus on, rather than (seemingly) include as many as possible. One thing the film has going for it is that it contains references to lesbian relationship- remember this is 1949 and that sort of thing just wasn't done or talked about, let alone put on film! So full marks for bravery.
Stylistically there's a lot of long shots, but Bergman cleverly makes it almost unnoticeable. Other than that the film is unremarkable. A book on writing screenplays I once read said: "You can make a bad film out of a good script, but you can never make a good film out of a bad script." This film suffers from that problem.
Rating- 5/10
Top 5-
1) Prison
2) Music In Darkness
3) Torment
4) Port of Call
5) Three Strange Loves
Without meaning to pun on the title Three Strange Loves is a strange little film. There are a couple of different plot threads weaved together very flimsily. Often whole sequences feel random, or serve as just a little vignette, with no real function to the main plot (which is vague anyway).
The film is based on short stories by Birger Malmsten, and I think this is the problem. If the scriptwriter (Herbert Grevenus) could have picked just one or two to put the main focus on, rather than (seemingly) include as many as possible. One thing the film has going for it is that it contains references to lesbian relationship- remember this is 1949 and that sort of thing just wasn't done or talked about, let alone put on film! So full marks for bravery.
Stylistically there's a lot of long shots, but Bergman cleverly makes it almost unnoticeable. Other than that the film is unremarkable. A book on writing screenplays I once read said: "You can make a bad film out of a good script, but you can never make a good film out of a bad script." This film suffers from that problem.
Rating- 5/10
Top 5-
1) Prison
2) Music In Darkness
3) Torment
4) Port of Call
5) Three Strange Loves
Wednesday, 8 April 2009
Prison (1949)
Prison (aka The Devil's Wanton aka Fängelse)
The film opens with a marvellous prologue- a retired maths teacher goes to a former pupil, Martin (Hasse Ekman), now a film director, with an idea for a film about hell. The following conversation about hell and the devil is the moment that Ingmar Bergman becomes Bergman. The film that follows is the true beginnings of what interests the director- religion, God's silence, existential doubt, dreams, cinema and the politics of relationships. There are two plots threads to begin with- that of Tomas (Birger Malmsten), a drunken writer to whom Martin relates the devil story idea to. The other story line is that of Birgitta Karoline (Doris Svelund), a 17 year old prostitute. As the film goes on the two plots lines converge when the two met up again and decide to break away.
The film seems to be post-modern in the sense that it has several scenes of a film been made. The film-within-a-film seems to be little more that a shoddy romance (perhaps a reference to the previous film Bergman had been making?). The conversation at the end about putting questions about the devil and evil on film is fantastic, especially since I know where the later films will go.
There are several very good moments throughout the film-including a nightmare sequence, and Tomas using a small project to show a little silent comedy. This film really is sowing the seeds of Bergman's later films, and it's an enjoyable watch as well, but be warned that Bergman doesn't deliver a predictable ending like his other films.
In comparison with the previous films this really is a stand out.
Rating- 7/10
Top 5-
1) Prison
2) Music In Darkness
3) Torment
4) Port of Call
5) Crisis
The film opens with a marvellous prologue- a retired maths teacher goes to a former pupil, Martin (Hasse Ekman), now a film director, with an idea for a film about hell. The following conversation about hell and the devil is the moment that Ingmar Bergman becomes Bergman. The film that follows is the true beginnings of what interests the director- religion, God's silence, existential doubt, dreams, cinema and the politics of relationships. There are two plots threads to begin with- that of Tomas (Birger Malmsten), a drunken writer to whom Martin relates the devil story idea to. The other story line is that of Birgitta Karoline (Doris Svelund), a 17 year old prostitute. As the film goes on the two plots lines converge when the two met up again and decide to break away.
The film seems to be post-modern in the sense that it has several scenes of a film been made. The film-within-a-film seems to be little more that a shoddy romance (perhaps a reference to the previous film Bergman had been making?). The conversation at the end about putting questions about the devil and evil on film is fantastic, especially since I know where the later films will go.
There are several very good moments throughout the film-including a nightmare sequence, and Tomas using a small project to show a little silent comedy. This film really is sowing the seeds of Bergman's later films, and it's an enjoyable watch as well, but be warned that Bergman doesn't deliver a predictable ending like his other films.
In comparison with the previous films this really is a stand out.
Rating- 7/10
Top 5-
1) Prison
2) Music In Darkness
3) Torment
4) Port of Call
5) Crisis
Port of Call (1948)
Port of Call (Hamnstad)
Once again Bergman is making a film about a young couple who fall in love. This seems to be a big recurring theme in these early films. Before seeing these films the earliest Bergman I'd seen was Summer With Monika which comes 5 years after this, but still this film feels like a test run for that later film. But I get ahead of myself.
Gösta (Bengt Eklund) is a sailor who's had enough of the sea. Berit (Nine-Christine Jönsson) is a suicidal factory girl. They meet at a dance and it looks like romance is inevitable, and so it is but there are complications- the past. Berit spent time in a reformatory, and the shadow of it still hangs over so. Gösta can't seem to forgive Berit for her past.
The idea of forgetting the past is interesting, but it's not quite fully developed or explored in this film. I think it's been too tied down to been a romance, and I think this is because Bergman co-authored the screenplay with the author of the novel the film is based on. The film tends to be dull in places, and I think this is due to a fatal flaw Bergman makes- it's clear he wants to make a realist film and makes good use of exterior shots, but when the film is studio shot it falls down, and most of the film is studio based.
Not a bad film, could be better.
Rating- 5/10
Top 5-
1) Music In Darkness
2) Torment
3) Port of Call
4) Crisis
5)--
Once again Bergman is making a film about a young couple who fall in love. This seems to be a big recurring theme in these early films. Before seeing these films the earliest Bergman I'd seen was Summer With Monika which comes 5 years after this, but still this film feels like a test run for that later film. But I get ahead of myself.
Gösta (Bengt Eklund) is a sailor who's had enough of the sea. Berit (Nine-Christine Jönsson) is a suicidal factory girl. They meet at a dance and it looks like romance is inevitable, and so it is but there are complications- the past. Berit spent time in a reformatory, and the shadow of it still hangs over so. Gösta can't seem to forgive Berit for her past.
The idea of forgetting the past is interesting, but it's not quite fully developed or explored in this film. I think it's been too tied down to been a romance, and I think this is because Bergman co-authored the screenplay with the author of the novel the film is based on. The film tends to be dull in places, and I think this is due to a fatal flaw Bergman makes- it's clear he wants to make a realist film and makes good use of exterior shots, but when the film is studio shot it falls down, and most of the film is studio based.
Not a bad film, could be better.
Rating- 5/10
Top 5-
1) Music In Darkness
2) Torment
3) Port of Call
4) Crisis
5)--
Tuesday, 7 April 2009
Music In Darkness (1948)
Music In Darkness (aka Night Is My Future aka Musik I Möker)
In between this film and his debut Crisis Bergman made three films, and in Music In Darkness the difference is plain to see. The film is essentially a tired old fashion romance routine, a formula that was well worn even in the late 40's, but none the less I enjoyed the movie. I generally despise formulaic movies, but the reason this stands out is that it's directed with confidence and flair. Bergman's gone from strength to strength as a director, and this film seems to be the beginnings of some 'firsts' that will recur in Bergman's career.
The story is about a blind musician (Birger Malmsten) and the young maid who falls in love with him, Ingrid (adeptly played by Mai Zetterling, especially in the early scenes). It seems class difference and Bengt's disability keep them apart. No surprises how it's going to end, huh? There's quite a bit of melodrama in the film, for example Bengt is blinded in an accident at a firing range as he was trying to rescue a puppy. Yes, that's right- a cute, white, little puppy. Though I knock the melodrama, the scene that follows is a fantastic surreal, expressionist nightmare as Bengt goes blind and unconscious.
Bengt is the first Bergman tortured artist (at least in this collection anyway), a recurring stock character in his films. The films also is the fist time Gunnar Björnstrand appears (in this collection) in a speaking role, it was hard not to think of him without knowing that he will become a regular player in Bergman's troupe, so his small role as a glum musician has extra relevance with foreknowledge.
I enjoyed the film, pretty good in places but too much melodrama for me to swallow.
Rating- 6/10
Top 5-
1)Music In Darkness
2)Torment
3)Crisis
4)--
5)--
In between this film and his debut Crisis Bergman made three films, and in Music In Darkness the difference is plain to see. The film is essentially a tired old fashion romance routine, a formula that was well worn even in the late 40's, but none the less I enjoyed the movie. I generally despise formulaic movies, but the reason this stands out is that it's directed with confidence and flair. Bergman's gone from strength to strength as a director, and this film seems to be the beginnings of some 'firsts' that will recur in Bergman's career.
The story is about a blind musician (Birger Malmsten) and the young maid who falls in love with him, Ingrid (adeptly played by Mai Zetterling, especially in the early scenes). It seems class difference and Bengt's disability keep them apart. No surprises how it's going to end, huh? There's quite a bit of melodrama in the film, for example Bengt is blinded in an accident at a firing range as he was trying to rescue a puppy. Yes, that's right- a cute, white, little puppy. Though I knock the melodrama, the scene that follows is a fantastic surreal, expressionist nightmare as Bengt goes blind and unconscious.
Bengt is the first Bergman tortured artist (at least in this collection anyway), a recurring stock character in his films. The films also is the fist time Gunnar Björnstrand appears (in this collection) in a speaking role, it was hard not to think of him without knowing that he will become a regular player in Bergman's troupe, so his small role as a glum musician has extra relevance with foreknowledge.
I enjoyed the film, pretty good in places but too much melodrama for me to swallow.
Rating- 6/10
Top 5-
1)Music In Darkness
2)Torment
3)Crisis
4)--
5)--
Friday, 3 April 2009
Crisis (1946)
Crisis (aka Kris)
Bergman's first film as a writer and director is very disappointing- for a film called Crisis there's not very much crisis in it at all. It's pretty much a by the number 'young girl is bored of home town, yearns for the big city, stranger turns up, takes young girl to city, young girl finds out it's not what she expected, young girl returns home'. That's all you really need to know. Yes, there's a few extra characters thrown into the mix of this, but none of it is either interesting or relevant.
The film is unremarkable and forgettable. Bergman is still finding his feet as a writer and even more so as a film director. It's all just very by the numbers and formulaic. I know I keep repeating these facts, but that's how it is to me- nothing special. If I had seen this film in '46, then I doubt I would have called Bergman one to watch.
This film hasn't spoiled my idea of Bergman as a genius, anything but. Judging by his later work I imagine that he had to really work hard to become, well, Bergman. And, if anything, that makes me admire him more.
Rating- 3/10
Top 5-
1)Torment
2)Crisis
3)--
4)--
5)--
Bergman's first film as a writer and director is very disappointing- for a film called Crisis there's not very much crisis in it at all. It's pretty much a by the number 'young girl is bored of home town, yearns for the big city, stranger turns up, takes young girl to city, young girl finds out it's not what she expected, young girl returns home'. That's all you really need to know. Yes, there's a few extra characters thrown into the mix of this, but none of it is either interesting or relevant.
The film is unremarkable and forgettable. Bergman is still finding his feet as a writer and even more so as a film director. It's all just very by the numbers and formulaic. I know I keep repeating these facts, but that's how it is to me- nothing special. If I had seen this film in '46, then I doubt I would have called Bergman one to watch.
This film hasn't spoiled my idea of Bergman as a genius, anything but. Judging by his later work I imagine that he had to really work hard to become, well, Bergman. And, if anything, that makes me admire him more.
Rating- 3/10
Top 5-
1)Torment
2)Crisis
3)--
4)--
5)--
Torment (1944)
Torment (aka Frenzy aka Hets)
Although this film is included in the collection it isn't actually directed by Ingmar Bergman, but the film is the first screenplay he had produced and he's credited as 'Assistant Director'. He shot the final scene of the movie.
Jan-Erik (Alf Kjellin) is in his final year off school coming close to his exams, but he has no real care for school- he wishes to play the violin and fall in love. He and his fellows are tormented by the Latin teacher nicknamed Caligula (Stig Järrel), an unpleasant man who believes the boys should be taught through fear. Neither does Jan-Erik get on with his parents who don't understand him. Only when he meets the drunken Bertha (Mai Zetterling) do things begin to look up, but she is afraid of a man who torments her.
When I watched this, my first thought was that it's a film about an angry young man before being an angry young man was popular. Rebel Without A Cause arrived nine years later, so the Swedes got there before the Americans.
It's a good, solid film. The story is fairly interesting, though it does get stilted in places. Järrel always looks the part of an evil Latin teacher, and the rest of the cast are adequate. My favourite shot of the film was the last one which (only after watching did I discover) that Bergman himself directed it. It reminded me of a more urbanised version of the painting Wanderer Above A Sea Of Fog.
So, a pretty good start by Bergman.
Rating- 6/10
Top 5 Films (To be updated with each film I see)
1)Torment
2)--
3)--
4)--
5)--
Although this film is included in the collection it isn't actually directed by Ingmar Bergman, but the film is the first screenplay he had produced and he's credited as 'Assistant Director'. He shot the final scene of the movie.
Jan-Erik (Alf Kjellin) is in his final year off school coming close to his exams, but he has no real care for school- he wishes to play the violin and fall in love. He and his fellows are tormented by the Latin teacher nicknamed Caligula (Stig Järrel), an unpleasant man who believes the boys should be taught through fear. Neither does Jan-Erik get on with his parents who don't understand him. Only when he meets the drunken Bertha (Mai Zetterling) do things begin to look up, but she is afraid of a man who torments her.
When I watched this, my first thought was that it's a film about an angry young man before being an angry young man was popular. Rebel Without A Cause arrived nine years later, so the Swedes got there before the Americans.
It's a good, solid film. The story is fairly interesting, though it does get stilted in places. Järrel always looks the part of an evil Latin teacher, and the rest of the cast are adequate. My favourite shot of the film was the last one which (only after watching did I discover) that Bergman himself directed it. It reminded me of a more urbanised version of the painting Wanderer Above A Sea Of Fog.
So, a pretty good start by Bergman.
Rating- 6/10
Top 5 Films (To be updated with each film I see)
1)Torment
2)--
3)--
4)--
5)--
Bergman Blog-a-thon!
One student.
Six months off Uni.
Thirty Ingmar Bergman DVDs.
Oh yes that's right- I will be watching 30 Bergman films and I shall blog and review about each of them over the coming weeks. Why? Because it'll give me something constructive to do and keep me out of trouble.
So to explain- I'm a huge Bergman fan. I'm writing an essay on him (for Drama!). I've read his autobiographies and seen a fair few of his films. I saw the 'Bergman Collection' Box Set on eBay. 30 films, only 1000 box sets worldwide, so I decided to fight for it. I paid £205 for it, but I think it'll be worth it. So worth it, I've got to blog about it in the hope fellow Bergman fans will find it.
So here are the films (the ones with * meant I've seen it before, but I'll review it anyway):
Torment
Crisis
Music in Darkness
Port of Call
Prison
Three Strange Loves
To Joy
Summer Interlude
Waiting Women
Summer With Monika *
A Lesson In Love
Dreams
Smiles of a Summer Night *
The Seventh Seal *
Wild Strawberries
The Magician *
The Virgin Spring *
Through A Glass Darkly *
Winter Light *
The Silence *
All These Women
Persona *
The Rite
Cries And Whispers
Scenes From A Marriage
Autumn Sonata
Faro-Dokument 1979
From the Life of the Marionettes
After the Rehearsal
Saraband
So I've seen 9 of the films in the set already, mostly from the middle period. So I get to follow his development as a director as I'll be watching the films chronologically. The only ones I've disappointed aren't in the set are Sawdust and Tinsel (I've seen it before, but it's great) and Fanny and Alexander. That aside I think I've got a good selection of classic and the early films (they're hard to get a hold of).
So, let the Swedish melancholy begin!
Six months off Uni.
Thirty Ingmar Bergman DVDs.
Oh yes that's right- I will be watching 30 Bergman films and I shall blog and review about each of them over the coming weeks. Why? Because it'll give me something constructive to do and keep me out of trouble.
So to explain- I'm a huge Bergman fan. I'm writing an essay on him (for Drama!). I've read his autobiographies and seen a fair few of his films. I saw the 'Bergman Collection' Box Set on eBay. 30 films, only 1000 box sets worldwide, so I decided to fight for it. I paid £205 for it, but I think it'll be worth it. So worth it, I've got to blog about it in the hope fellow Bergman fans will find it.
So here are the films (the ones with * meant I've seen it before, but I'll review it anyway):
Torment
Crisis
Music in Darkness
Port of Call
Prison
Three Strange Loves
To Joy
Summer Interlude
Waiting Women
Summer With Monika *
A Lesson In Love
Dreams
Smiles of a Summer Night *
The Seventh Seal *
Wild Strawberries
The Magician *
The Virgin Spring *
Through A Glass Darkly *
Winter Light *
The Silence *
All These Women
Persona *
The Rite
Cries And Whispers
Scenes From A Marriage
Autumn Sonata
Faro-Dokument 1979
From the Life of the Marionettes
After the Rehearsal
Saraband
So I've seen 9 of the films in the set already, mostly from the middle period. So I get to follow his development as a director as I'll be watching the films chronologically. The only ones I've disappointed aren't in the set are Sawdust and Tinsel (I've seen it before, but it's great) and Fanny and Alexander. That aside I think I've got a good selection of classic and the early films (they're hard to get a hold of).
So, let the Swedish melancholy begin!
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