All These Women

Directed by Ingmar Bergman and written by Bergman and Erland Josephson, For att inte tala om alla dessa kvinnor (All These Women) is the story of a critic who is trying to write a biography on a cellist only to meet with the women in that man’s life. The film is essentially a parody of sorts of Federico Fellini’s 8 ½ where Bergman creates a comedy that plays into a man trying to get answers only for things to go incredibly wrong. Starring Harriet Andersson, Bibi Andersson, Eva Dahlbeck, and Jarl Kulle. For att inte tala om alla dessa kvinnor is a silly yet exuberant film from Ingmar Bergman.

The film is a simple story about the four days in the life of a critic who is trying to write a biography of a renowned cellist whom he hopes to make into someone even greater. Instead, he encounters the many wives and mistresses of the cellist named Felix where hilarity ensues and all sorts of craziness. Most notably as the critic Cornelius (Jarl Kulle) who is a man of great importance but is also full of himself where his encounter with the wives and lovers of Felix overwhelm him while his attempts to meet the man himself become futile. The film’s screenplay by Ingmar Bergman and Erland Josephson doesn’t really much of a plot as it favors more into Cornelius’ attempt to know who Felix is through his women as well as a few people who handle Felix’s business. The narrative moves back and forth into Cornelius’ visit as well as its aftermath where things don’t exactly go well for everyone.

Bergman’s direction is definitely a change of pace for the filmmaker who is often known for very serious and austere films that manages to question a lot. Here, he decides to take a change of pace and do something that is more fun and exuberant. Notably as it is shot largely in an estate where Bergman doesn’t really go for any kind of entrancing nor stylistic shots though he does create some unique compositions in how he places his actors in a close-up or a wide shot. At the same time, there is a looseness to the direction where Bergman just amps up the comedy where it does pay homage to the works of Federico Fellini where it is about chaos. The direction has moments of slapstick and scenes where the fourth wall is broken as it relates to Cornelius’ trying to make sense of everything. Yet, it does get overly silly where aspects of the story do get lost though it is probably what Bergman intended since the film is essentially something that isn’t very serious. Overall, Bergman creates a very lively and whimsical comedy about a critic’s attempt to capture a man’s life for a biography.

Cinematographer Sven Nykvist does excellent work with the film‘s colorful photography to play into the gorgeous look of the home as well as capture the vibrant colors of the costumes and some of the rooms. Editor Ulla Ryghe does nice work with the editing as it‘s stylish with some jump-cuts and other abrupt moments to play into the comedy. Production designer P.A. Lundgren does fantastic work with the look of the house as well as some of the rooms that play into the personalities of the characters. Costume designer Mago does brilliant work with the costumes in the design of the different dresses that the women wear to display their offbeat personalities. The sound work of Per-Olof Pettersson and Tage Sjoberg is terrific for some of the sound work and sound effects that is created for some of the film‘s comical moments. The film’s music by Erik Nordgren is wonderful as it’s mostly low-key in its string-based setting as much of the music consists of jazz and classical pieces.

The film’s marvelous cast includes a couple of notable small roles from Carl Billquist as a young cellist, Georg Funkquist as the estate’s head servant Tristan, and Allan Edwall as Felix’s business manager Jillker. In the role of Cornelius, Jarl Kulle is fantastic as this extremely smug and pretentious critic who gets more than he bargains for in his attempt to get to know the mysterious cellist Felix as that character is never seen in the film. Finally, there’s the seven wives and mistresses of the mysterious Felix as they give amazing performances with Barbo Hiort af Ornas as the talented Beatrice who wants to be accepted as a musician and Karin Kavli as the middle-aged Madame Tussaud who is Felix’s benefactor and supporter as she spends much of her time with Tristan. Mona Malm and Gertrud Fridh are brilliant in their respective roles as the very innocent Cecilia and mouthy Traviata as the latter is suspected of being the one trying to kill Felix.

Harriett Anderson is excellent as the maid Isolde as someone who knows what Felix wants as she is a very offbeat character that has her own quirks. Eva Dahlbeck is superb as the main wife Adelaide as the woman who sort of runs the house as she is also suspected of trying to kill her husband. Finally, there’s Bibi Andersson in a whimsical performance as the mistress Bumblebee who is a very lively woman that wears stylish clothes and carries a little dog.

For att inte tala om alla dessa kvinnor is an enjoyable film from Ingmar Bergman. While it is a minor work of his as it is a very off-the-wall comedy that sort of makes fun of Federico Fellini. It is still an interesting and lively film that plays into a critic being overwhelmed by the women in the life of a reclusive cellist. In the end, For att inte tala om alla dessa kvinnor is a worthwhile and stellar film from Ingmar Bergman.

Related: 8 1/2

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust & Tinsel - A Lesson in Love - Dreams - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - Persona - (Simulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (Karin’s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2015

Persona

Originally Written and Posted at Epinions.com on 4/27/09 w/ Additional Edits.

Written, produced, and directed by Ingmar Bergman, Persona tells the story of a successful actress who suddenly becomes a mute. After this traumatic period, the actress is now in the care of a nurse as the two connect during a period where the two live in a secluded home. A film that explored identities and self-exploration, it's one of Bergman's most provocative yet seminal feature films that would influence directors in the years to come. Starring Bergman regulars Liv Ullmann, Bibi Andersson, and Gunnar Bjornstrand. Persona is an eerie yet mesmerizing film from Ingmar Bergman.

After a performance of Electra one night, actress Eilsabet Vogler (Liv Ullmann) has suddenly become mute. Now ill, Elisabet is now in the care of a young nurse name Alma (Bibi Andersson) under the orders of her head doctor (Margaretha Krook). Alma believes she can help Elisabet but the state of mind of the theater actress forced the doctor to make a drastic move. The doctor makes the decision for Alma to accompany Elisabet to the doctor's secluded summer home for a period of time. Things start out well as Alma starts to talk about her own life and such. Then one night, Alma talks about a vacation in which she recalls an affair with a married man and another sexual encounter with a friend and two boys.

Haunted by the conversation, Alma reads a letter from Elisabet about the conversation and such where Alma is convinced that she's being used. The days become longer as Alma starts to have a breakdown, waiting for Elisabet to speak. Even as Alma tries to do things which end up being violent reactions to Elisabet's quiet personality in order for her to speak. Eventually, the relationship between the two women starts to disintegrate. Their identities become troubling when Elisabet's husband (Gunnar Bjornstrand) visits as Alma ends up playing Elisabet. When Alma starts to have another confrontation with Elisabet in order for to speak, Alma starts to mention Elisabet's son where the result would leave both women weary and unable to figure out who they are.

The film is essentially a psychological drama about a nurse trying to help a mute actress speak out. What happens instead is a nurse starting to unravel through her own persona life while both of their identities merge to the point that the nurse starts to speak as Elisabet. The film's title lives up to its name but also something more as Bergman goes deeper into his story. The film in fact, doesn't begin with that narrative but rather a collection of images into a montage which includes a shot of an erect penis, dead bodies, nails into a hand, and other things. Then it cuts to a sequence of a boy (Jorgen Lindstrom) reading a book and then looking at a movie screen. The montages appear again in the middle and right at the end with the boy looking at the screen.

Bergman's direction is definitely hypnotic from the first frame to its final shot. Its first fifteen minutes, minus the opening montage sequence, begins at the hospital which includes a scene where Elisabet watches the chaos of the Vietnam War. What happens would distress her while Alma would have the same affect into her own breakdown. The compositions Bergman creates delves into psychological, eerie tone where there's close-ups and shots that are really distinctive to the theme he's displaying. There's not a lot of moments where the camera moves except in a few scenes with tracking shots. Yet, the camera remain in stillness for its protagonists to understand what they're going through and their own reactions. The result is a film that is mesmerizing and evocative in its themes and images from Ingmar Bergman.

Bergman's longtime cinematographer Sven Nykvist does amazing yet entrancing work with the film's black-and-white look. With Bergman's unique, nearly-theatrical-like setting, Nykvist' camera is truly enchanting from a scene where Alma sleeps with Elisabet appearing in a ghostly presence. The camera work of Nykvist is truly mesmerizing in times when its' moving or when it remains still. Especially as it plays to a certain darkness and needs to have light to up the mood a bit. The overall work of the late Sven Nykvist is definitely brilliant in every shot that is created as it features some of his finest work of his career.

Editor Ulla Ryghe does excellent work with the film's rhythmic cutting to go from one shot to another in a quick transition with little uses of dissolves except for stylistic use to maintain a haunting quality for its theme of identity. Production designer Bibi Lindstrom does fine work with the look of Elisabet's hospital room which has a weird, claustrophobic feel while the summer house is more open but also ghostly at night with its curtains and mirrors. Costume designer Mago does great work with the black clothes that both women wear from the black, shiny jacket that Alma wears to black sweaters and pants that both wear in an emotional, dramatic scene. Sound mixer Olle Jacobsson and crew members Lennart Engholm and Per-Olof Pettersson do great work with the sounds of wind and ocean to capture the tense atmosphere that goes on between the two women.

The music of Lars Johan Werle filled with ominous arrangements of percussions, chimes, and other hollow instruments with strings is definitely mesmerizing. Especially in its level of suspense and horror to play up to the haunting quality of the film as the score is truly magnificent.

The casting is excellent though it's mostly a small cast with Jorgen Lindstrom as the boy and Margaretha Krook as the doctor are both very good while Bergman regular Gunnar Bjornstrand is excellent in his small role as Elisabet's husband. Yet, the film truly belongs to the performances of Liv Ullmann and Bibi Andersson. While Ullmann's role is mostly silent with a few nods, head shakes, and grunts, the restraint that Ullmann gives is intriguing and intoxicating to watch. Especially in the idea of whether or not she will speak and how she plays around with Bibi Andersson as it's a great performance from Ullmann. Though Ullmann had a more physical role, it's Bibi Andersson's performance that really shines from this naive, determined nurse to a woman who unveils herself only to go into a breakdown. Andersson's performance is more theatrical yet she manages to display every moment of emotion, even as her character becomes darker as it's one of her finest performances of her career.

Persona is an entrancing yet provocative film from Ingmar Bergman. Thanks in part to Bergman's haunting direction, Sven Nykvist's evocative cinematography, Lars Johan Werle's score, and the performances of Bibi Andersson and Liv Ullmann. It's a film that will stick with viewer with its eerie images, strange montages, and high-octane drama. Fans of Bergman will no doubt rank this high while those new to him will see this as a nice starting point. In the end, for a film that revels in identity and all of its layers, Persona is the film to go see from the late, great Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012

Wild Strawberries

Originally Written and Posted at Epinions.com on 4/12/07 w/ Additional Edits.

Written and directed by Ingmar Bergman, Smultronstallet (Wild Strawberries) is the story of a professor whose own life is in danger while going on the road with his daughter-in-law to receive an award. During the journey, the professor is forced to look back on his own world while being haunted by nightmares, daydreams, and his own old age. A film that questions existentialism, Smultronstallet is a film that is witty while human in the fear of age and human behaviors. Starring Victor Sjostrom, Ingrid Thulin, and Bergman regulars Bibi Andersson, Gunnar Bjornstrand, and Max Von Sydow. Smultronstallet is a surreal yet engrossing film by Ingmar Bergman.

After waking up from a haunting nightmare that involved a man without a face falling down, clocks without hands, and a falling casket. Professor Isak Borg (Victor Sjostrom) wakes up annoyed by what had happened. Making things worse is that the aging, 78-year old doctor has to go to Lund to receive an honorary degree from a university. With assistance from his longtime maid Agda (Jullan Kindahl), he has to make a trip from Stockholm to Lund via plane. Instead, Borg decides to drive instead of having his son Evald (Gunnar Bjornstrand) waiting for him. With Agda choosing to stay at home, accompanying Borg is his daughter-in-law Marianne (Ingrid Thulin) as they go on the road. During their trip, Borg discusses his thoughts on intellectualism and everything else with Marianne who feels troubled by her estrangement towards husband Evald.

They stop in the woods nearby the old childhood home of Isak. There, Isak recalls a dream where his cousin Sara (Bibi Andersson) is collecting wild strawberries for Isak and his father (Ulf Johansson) when they were fishing. Sara was someone Isak dearly loved yet, she was often being flirted by his older brother Sigfrid (Per Sjostrand). Isak sees why Sara never became his love and instead, he married a woman named Karin (Gertrud Fridh) who has died a few years ago. After the dream, Isak came across a young, virginal woman named Sara (Bibi Andersson) who is hoping to make a trip to Italy with two young men Anders (Folke Sundquist) and Viktor (Bjorn Bjelfvenstam). Isak and Marianne decide to have them join along. After nearly crashing their car in a curve with another car, they meet a couple named the Almans, Sten (Gunnar Sjoberg) and his actress wife (Gunnel Brostrom). Sten's verbal abusive towards his wife's acting and her emotions drove Marianne to the edge as she later kicks them out.

After a stop at a gas station where they meet Henrik Akerman (Max Von Sydow) and wife Eva (Ann-Marie Wiman), they remember Isak since they've considered him to be a great doctor and gave the gas free. It is nearby the gas station where Isak, Marianne, Sara, Anders, and Viktor stop for lunch as Anders and Viktor have a heated discussion over God's existence. Also nearby is the home of Isak's mother (Naima Wifstrand) lives. Isak and Marianne make an unexpected visit as she is convinced that her entire family has pretty much abandoned her. She haven't even seen her great-grandchildren where she looks coldly towards Marianne. The meeting leads to emotional issues towards Marianne as the gang continue in their trip where Isak begins to have nightmares about strange events. Notably about an affair his wife had with a man (Ake Fridell) where Isak is forced watch in horror about what did he do for all of this to happen. Finally arriving at the university, Isak tries to deal with everything he had just seen.

While this film is more of a genre-bender than his previous film, Det Sjunde Inseglet (The Seventh Seal), the journey that Bergman takes through his observant direction and multi-layered script is a fascinating one. The result is a surreal drama of this man, who starts out in the first two minutes as grouchy and cold who then becomes haunted by memories and dreams of his own life. He is also confronted by the sadness in the estranged marriage of his son and Marianne where he realizes how his own behavior has passed onto him. Even in the memories and dreams, Bergman makes the audience aware of what is going on through Isak's own eyes. The audience is aware that Isak wants to correct things and forgive people like Sara and Karin yet, is helpless. The fortunate thing about this film is that Isak finds some ounce of redemption and development through Marianne, and the three young people he encounters including the free-spirit Sara. The result through its amazing script and Bergman's entrancing direction is a film that is wonderfully entertaining and thoughtful.

Cinematographer Gunnar Fischer's black-and-white photography, notably in the film's exterior sequences, is exquisite to reveal the wonderful road landscape of Sweden. Even the exteriors from the softness of the rich, childhood of Isak's life to the cold, dark look of the opening nightmare and the test/Karin's affair sequences. Production designer Gittan Gustafsson does excellent work in creating the differing atmospheres of Isak's childhood and the cold world he's surrounded by in his own home and nightmares. Costume designer Millie Strom brings a wonderful style to the clothing to the suit of Isak, the modern-day women clothes of Marianne, and the youthful energy that Sara, Viktor, and Anders wears. Editor Oscar Rosander does great work with his dissolve cuts to move the film’s sequence-to-sequence cuts while making the audience aware of the reality and dream world. Sound recorder Aaby Wedin also plays to the film’s atmosphere that is sometimes, surrounded by Erik Nordgren's suspenseful yet dreamy score.

The film's cast is definitely inspiring to watch with small performances from Ulf Johansson, Monica Ehrling, Lena Bergman, Gunnel Lindblom, Sif Ruud, and Yngve Nordwall as Isak's assorted family. Other minor roles like Ake Fridell as Karin's lover, Gertrud Fridh as Karin, Naima Wifstrand as Isak's mother, Gunnar Sjoberg and Gunnel Brostrom as the Almans, Ann-Marie Wiman as Eva Akerman, and in a small appearance, Det Sjunde Inseglet star Max Von Sydow as a gas station manager.

Per Sjostrand is excellent as Isak's flirtatious older brother Sigfrid while Jullan Kindahl is great as Isak's temperamental, loyal maid. Folke Sundquist and Bjorn Bjelfvenstam are great as the bickering young men who ask Isak about his own opinion on God while being amazed by Isak's own experiences. Gunnar Bjornstrand is in fine form as the cold, consumed Evald who cynicism about his own marriage and everything else reveals something deeper only until he sees his father.

Ingrid Thulin is amazing in her role as Marianne, Isak's distraught yet loving daughter-in-law who finds comfort in her father-in-law despite his own personality. Thulin is great as the older woman who tries to control things in the car while dealing with her own marital issues. In a dual role in playing different women named Sara, Bibi Andersson is great in her dual performances as the two women who would be different forms of affection for Isak. In the role of Isak's cousin, Andersson is more dramatic as this young woman who is trapped by Isak's flirtatious older brother and how she broke Isak's heart. In the role of the young Sara, Andersson brings more energy and spirit as a young woman caught in a triangle of sorts only to find a father figure in Isak.

The legendary Victor Sjostrom gives an amazing yet understated performance as the grouchy yet wise Professor Isak Borg. Sjostrom brings a lot of wisdom to the role as a man haunted by his own age plus the dreams and memories of his own life as he tries to deal with them in some way. When he is taken on this journey, Isak becomes a fuller character as he warms up to new people and hopes to mend the mistakes of his own life through his own family. Sjostrom's performance is a real highlight and one of the greatest in European cinema.

In the end, Smultronstallet is a witty, surreal, yet entrancing film from Ingmar Bergman. While it's not as good as Det Sjunde Inseglet, fans of road films will no doubt enjoy the journey and Bergman's narrative approach. Anyone new to Bergman will find this film as a nice place to start. For a film that blurs the world of reality and fiction, Smultronstallet is the film to see.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012

The Seventh Seal

Originally Written and Posted at Epinions.com on 4/4/07 w/ Additional Edits.

Written and directed by Bergman, Det Sjunde Inseglet (The Seventh Seal) tells the story of a medieval knight who goes on a journey in a plague-ridden landscape when he encounters Death. In order to continue his life, he plays a game of chess with Death while they talk about existence and other issues during his journey to return to his castle. Considered to be one of Bergman's most seminal and iconic films, Det Sjunde Inseglet is a film that would not only change the way that cinema looked but also presented new themes. Starring Max Von Sydow, Gunnar Bjornstrand, Bengt Ekerot, Bibi Andersson and Nils Poppe. Det Sjunde Inseglet is a brilliant yet haunting film from Ingmar Bergman.

Returning home from the Crusades, a knight named Antonius Block (Max Von Sydow) and his squire Jons (Gunnar Bjornstrand) arrive onto their homeland to find that it's been ravaged by the Plague. Upon their arrival, Block encounters Death (Bengt Ekerot) who has been stalking him. Knowing that his time is up, Block asks Death to give him time for a long game of chess while going on a journey to his castle home to reunite with his wife Karin (Inga Landgre). Meanwhile, a circus troupe led by Jof (Nils Poppe), his wife Mia (Bibi Andersson), their baby son Michael (Tommy Karlsson), and director Skat (Erik Strandmark) are hoping to make a journey to the south as Jof claims to see a vision of the Virgin Mary. Block continues his journey where he stops to a town to question his faith and existence where he continues to be stalked by Death. Jons meanwhile, has a talk about life and existence with a painter (Gunnar Olsson) about the dark images the painter has made.

After encountering a young woman (Maud Hansson) who is claimed to be a witch, Block and Jons continue their journey into town when Jons enters a home to stop a man named Raval (Bertil Anderberg) from hitting a young woman (Gunnel Lindblom). Jons makes the young woman his new love while the circus troupe arrive to perform with a lukewarm reception. Skat attracts the attention of a young woman named Lisa (Inga Gill) who is the wife of a blacksmith named Plog (Ake Fridell). After they ran off, Plog is upset as he and Raval try to humiliate Jof only to be saved by Jons. Block meets Mia as they're later joined by Jons, the young woman, and Jof. A discussion about life and faith is reveled while Block continues to play the game of chess with Death. Telling Jof that going south is a bad idea because the Plague is still running, they make their journey. Joining them is a distraught Plog where they encounter Skat and Lisa. Lisa joins the group on the journey as Skat is left behind.

On their journey to Block's castle, they see the woman who is claimed to be a witch where Block asks her about the Devil. After seeing her to be burned, the dread of Death haunts the travelers as Block becomes aware that he is running out of time for this big game of chess against Death.

While this film's plot is simple about a knight who challenges Death to a game of chess while going into a journey home in order to strategies their moves. This film is really about a disillusioned knight and his squire seeking answers that are existential and questions faith. The squire Jons brings a very cynical yet intelligent view on life including women and faith with Block being desperate for some kind of answer. Even if it's from someone as full of life and hope in Jof who is very high on his faith. Ingmar Bergman definitely tries to bring more questions than answer leading to opening interpretation while creating characters that are very real and direct about their own life.

While it's based partially on one of his plays, Det Sjunde Inseglet is really a haunting yet entrancing film with images and compositions that sends chills to its audiences. The scenes that Bergman sets up from a crucifixion sequence with these haunting images of black and white to its last moment when Block finishes his game of Chess with Death. Even the final scenes have a moment of both hope and sadness in relation to what Death wants. The girl that Jons picks up only says one line throughout the film which signifies the acceptance of the fate of Block and his fellow travelers. While it's unclear whether Bergman is more about fact or faith, he doesn't criticize neither rather than allowing the audience their view. Yet, the spirituality of the film is very serious and direct where Bergman shows how people take their faith seriously. The character of Jof, unlike the more cynical Jon, is a more optimistic figure who seeks some hope not for himself but also his family. The result is an engaging yet haunting masterpiece by Ingmar Bergman.

Cinematographer Gunnar Fischer's amazing photography in black-and-white is wonderfully stylized while adding the sense of dread to the film. The use of black in some of the costumes, notably the presence of Death in the first shot is just amazing. With its gray background and they Death looks in the composition is just beautiful. Even one of the film's final shots that was widely improvised is just worth noting for its mix of gray and black. Production designer P.A. Lundgren brings a lot to the film's look with its painting in the church to the medieval look of the film. Costume designer Manne Lindholm also does great work for the circus clothing to the cloak of Death with makeup artist Nils Nittel also giving Ekerot his unique look. Editor Lennart Wallen does some wonderful, dissolve cuts to move the film's sequence as well as some wonderful shifts during a scene to convey the sense of suspense. Wallen along with Aaby Wedin does some excellent work in capturing the atmosphere with the noise of winds in the film's later sequences that adds to the dread. Music composer Erik Nordgren adds to the suspense with his wonderful score while being more plaintive in some of the film's peaceful sequences.

The film's cast is wonderfully amazing with notable small performances from Bertil Anderberg as the brutal Raval, Inga Landgre as Block's loyal wife, Inga Gill as the sensual Lisa, Maud Hansson as the accused witch, Ake Fridell as the distraught blacksmith Plog, Gunnar Olsson as the haunted painter, and Erik Strandmark as the adulterous Skat. Gunnel Lindblom is great as the silent young woman who observes everything, even a scene involving a plague-ridden man while having one famous line in one of the film's final scenes. Nils Poppe is great as the hopeful, faith-driven Jof whose claims of visions and optimism brings a balance to the cynicism that Gunnar Bjornstrand brings as the squire Jon. Bjornstrand is just great in bringing the cynicism along with his distaste for women. Bergman regular Bibi Andersson is great as the hopeful Mia who is pondering her own child's future while bringing the sense of comfort for Block. Bengt Ekerot is wonderful as Death with his eerie presence and intelligence as the Grim Reaper while having a funny moment in a great scene. Max Von Sydow is amazing as Antonius Block with his hardened, moody performance as a man trying to find answers.

Det Sjunde Inseglet became an international hit where it won the Jury Prize at the 1957 Cannes Film Festival. The success of the film brought Bergman international attention while a year later, the film reached the U.S. as did his follow-up Wild Strawberries. The film is often regarded as a milestone and landmark for European cinema. Not only has this film become a requirement for film studies but also had been parodied in the comedies of Woody Allen as well as blockbusters like Last Action Hero and Bill & Ted's Bogus Journey. Still, Det Sjunde Inseglet remains one of the most brilliant films ever made. Anyone looking for an introduction to Ingmar Bergman will no doubt find this as a great place to start. It raises a lot of existential questions as well as questions of spirituality. For a film that haunts its audience while intriguing them, Det Sjunde Inseglet is the film to see.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012

Smiles of a Summer Night

Originally Written and Posted at Epinions.com on 5/25/09 w/ Additional Edits.

Written and directed by Ingmar Bergman, Sommamattens leende (Smiles of a Summer Night) tells the story of a lawyer at the turn of the century who is married to a 19-year old virgin while his adult son, from a previous marriage is becoming a priest. When he meets a former mistress during a play, she invites him, his wife, son, and some friends for a party in her summer home for one night only. A film that is a comedy in some respects but also filled with Bergman's themes of morality. It would be the film that would help give audience a taste of what is to come from the director, though in a different style. Starring Ulla Jacobson, Gunnar Bjornstrand, Harriet Andersson, Eva Dahlbeck, Margit Carlqvist, Jarl Kulle, Bibi Andersson, and Birgitta Valberg. Sommamattens leende is an excellent, funny film from Ingmar Bergman.

Fredrik Egerman (Gunnar Bjornstrand) is a respected lawyer who is married to 19-year old ingenue named Anne (Ulla Jacobson). Things seem to go well in their life while Fredrik's son Henrik (Bjorn Bjelfvenstam) just passed an examination to become a priest. Living with the Egermans is a young maid named Petra (Harriet Andersson) who often flirts with Henrik. When Fredrik receives tickets for a play starring Desiree Armfeldt (Eva Dahlbeck), it is learned that she is a former mistress of Fredrik just after his first wife had passed away some years ago. During a nap, Fredrik says Desiree's name that bothers Anne while at the play, Anne is distressed as they leave early. Henrik is frustrated over his feelings for Petra believing he has sinned. After that night, Fredrik decides to see Desiree for a chat. Accompanied by Desiree's maid Malla (Gull Natorp), the go to Desiree's home where Fredrik asks for Desiree's help while learning she has a son named Fredrik (Anders Wulff).

Later that evening, a young man named Malcolm (Jarl Kulle) arrives to meet with Desiree but is upset that Fredrik is there. Malcolm is a young Count who is set to leave for war soon while his wife Charlotte (Margit Carlqvist) is a gossip monger. Desiree has an idea during a visit with her mother (Naima Wifstrand) to have the Count and his wife plus the Egermans for a day in the summer at the home of Desiree's mother. Anne decides to go after a visit from Charlotte, who knows that her husband is having an affair. At the house, Petra accompanies the Egermans where she meets Mrs. Armfeldt's servant Frid (Akie Fridell). Anne and Desiree meet as the Count and his wife arrive to the mansion as everyone meets. Charlotte meets with Desiree for a plan of her own. What happens at dinner would reveal some unresolved feelings and desires for all involved. Even as Frid reveals to Petra the three things that happen on a summer night for those who become couples and those who have to figure some things out.

While Bergman throughout his later films would tackle themes of morality, faith, and love in a more cynical, darker presentation. Bergman also can present films with a sense of humor in these subject matters. In this film, it's about a lawyer dealing with old feelings of his mistress as well as his love for his wife. At the same time, his wife is bored with all that is going on while having some repressed feelings of her own while learning about her husband's past with his mistress. While all of that is going on, there's a jealous count, his angry wife, and the lawyer's repressed son who is disgusted by all that is happening.

Bergman's script has a nice structure where the first act introduces Fredrik's life as well as his past with Desiree while being introduced to the jealous Count Malcolm. The second act is about Desiree's plan for a party at her mother's house and Charlotte's plan to expose her husband. All that is well told though it suffers through some pacing issues and trying to keep the story going. Even as it tries to mix comedy and drama that is finally balanced in the third act where everything goes on at the house. Its third act becomes the film's payoff in terms of its spontaneous humor and dark drama, the latter of which would become Bergman's trademark for all of his films to come.

The direction is mostly straightforward in comparison to Bergman's later films which often has striking compositions and eerie camera movements. Still, there's some memorable shots in the film as he creates. Notably the ending that involves Petra and a character commentating all that is happening. While the staging of the drama is mostly theatrical, there's some humor that goes on while in terms of the acting. It's all done in an early 1900 style where the body language shows the characters bowing to each other as a form of introduction. In the more intense, heavy dramatic scenes, there's some great close-up of the characters through zooming close-ups to reveal what is going on as well as its sense of emotional impact. Despite a few flaws in the story and pacing, Bergman does create a solid, whimsical comedy about love and morality.

Bergman's then-longtime cinematographer Gunnar Fischer does excellent work with the film's black-and-white photography. Notably in the nighttime scenes at the mansion with some great, haunting interior shots to capture the mood of the dinner scene. Even in the exterior, there is a beautiful yet dark quality to his camera work. Fischer's shading in some of the nighttime and daytime exteriors are well-made as he brings something that is exquisite in its look and feel. Editor Oscar Rosander does some nice work with the film's smooth transitions with straight cuts, fade-outs, and dissolves to give the film a nice feel though its pacing at times, lags the film a bit in its humor and drama.

Production designer P.A. Lundgren does fantastic work with the lavish homes that the characters live in with such detail to early 20th Century antiques and furniture along with the chairs. The look of the sets and decorations are filled with elegant details along with the use of candles with dripping wax as it's one of the film's technical highlights. The costume design work of Mago is very exquisite with its flowing, large dresses and hats of the times along with the suits that the men wear. The sound work by Per-Olof Pettersson and Lennart Wallin is very good in capturing the raucous sounds of the theaters and the quiet atmosphere of the Armfeldt mansion. The music by Erik Nordgren is wonderful for its upbeat, flowing arrangements filled with comical pieces and huge, triumphant pieces with large arrangements. Even in the more romantic scenes, there's something that is somber of what goes on as it plays well to its humor and drama.

The cast is well-assembled with some memorable small roles from Anders Wulff as Desiree's son Fredrik, Gull Natorp as Desiree's assistant Malla, Jullan Kindahl as Anne and Fredrik's cook Beata, and in early film roles, Birgitta Valberg and Bibi Andersson as actresses on the stage. Naima Wifstrand is very good as Mrs. Armfeldt, Desiree's mother who comments all the things wrong with the world including the young people of its time. Ake Fridell is great as the lively Frid, a man who is so full of charm as he wows the young Petra over his lust for life and all of the things that makes the world good. Bjorn Bjelfvenstam is excellent as Henrik, Fredrik's 19-year old son who wants to be a priest but struggles against the dark ways of the world as well as his feelings for women. Jarl Kulle is good as Count Malcolm, a young jealous military officer who wears a stupid mustache while couldn't hold his feelings for both Desiree and his wife Charlotte.

Margit Carlqvist is great as Charlotte, a young, scorned wife who is aware of her husband's affairs as she hopes to get revenge on him by seducing Fredrik. Harriet Andersson is wonderful as the lively, flirtatious maid Petra, who likes to bare her cleavage to Henrik. Ulla Jacobson is very good as Anne, the young virginal wife of Fredrik who is confused after she hears him say Desiree's name in his sleep as she also has some repressed feelings for someone else around her. Gunnar Bjornstrand is excellent as Fredrik, a man who is confused over his love for Anne but his feelings for Desiree while dealing with all of the chaos that surrounds him during a night at the Armfeldt mansion. Finally, there's Eva Dahlbeck in a fantastic role as Desiree, a lively woman who realizes she still has feelings for Fredrik while trying to contend the jealousy of Malcolm as she makes a move that would change everything.

Sommamattens leende is an excellent, whimsical comedy from Ingmar Bergman featuring a superb cast led by Eva Dahlbeck, Gunnar Bjornstrand, Ulla Jacobson, and Harriet Andersson. While the film may not have the serious, heavy themes of other films that would follow, it's a film that shows Bergman's versatility in the themes and genres he explores. In the end, while it may not reach the heights of his later, more-well known films, Sommamattens leende is still a fascinating, entertaining film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012

Scenes from a Marriage

Written and directed by Ingmar Bergman, Scener ur ett aktenskap (Scenes from a Marriage) is the story of a marriage disintegrating between a lawyer and a professor throughout the course of a long period. The film explores Bergman’s fascination with adult life and a couple falling out of love as they’re played by two of Bergman regulars in Liv Ullmann and Erland Josephson in their respective roles of Marianne and Johan. Also starring Bergman regular Bibi Andersson, Jan Malmsjo, Gunnel Lindblom, Anita Wall, and Barbo Hiort af Ornas. Scener ur ett aktenskap is a chilling yet provocative film from Ingmar Bergman.

After a magazine interview about marriage where Johan and Marianne answer superficial questions, the two hold a dinner party with their friends Peter (Jan Malmsjo) and Katarina (Bibi Andersson) that becomes a disaster due to Peter and Katarina’s constant bickering. On one particular Sunday as they’re expected to have dinner with their parents, Marianne decides not to do it leading to problems as the two end up doing different things in their work. Johan is a professor who is trying to do some studies while Marianne is a lawyer who deals with a woman wanting a divorce due to her loveless marriage. On another day in the country as Johan returns from work, he reveals some startling news to Marianne that would prove to be devastating.

Six months later, Johan and Marianne meet again to discuss about Johan’s role in the life of their daughters as he becomes more unsure of his new life as Marianne reveals her new life in their current separation. When the two later meet to discuss the divorce and sign the divorce papers, Johan opens up about his own failures as he and Marianne start to vent at each other for everything that has happened in their life.

The film is an exploration of a couple’s marriage as it disintegrates in the span of a period of time. In its shortened, 167-minute theatrical version, the film explores a marriage come undone where the first act involves Johan and Marianne deal with a world unraveling around them as they see their friends bicker while Marianne deals a woman who wants to get a divorce stating that she doesn’t love anyone. In the second act, Marianne and Johan’s blissful life shatters through secrets, insecurities, and all sorts of issues that would lead to their separation and eventual divorce. By the time the film reaches the third act, divorce is about to happen as the couple finally start to vent at one another while it would end with a final episode in which the two try to come to terms with their divorce and the new different lives they have separately.

Ingmar Bergman’s screenplay observes the world of marriage and the unraveling of this couple’s relationship through a series of moments as it starts off with this scene where Johan and Marianne are being interviewed for a magazine. It’s a scene that is meant to have Johan and Marianne be the representation of the perfect couple. Yet, it’s a scene where the two play and pretend to be nice though it’s a set up for everything else that is to come as they’re not perfect as they seem. Throughout the course of the film in an episodic-like structure, Johan and Marianne would unravel as well as try to hold on to the love they had for each other. Since there’s not much of a plot, it allows Bergman to let the characters explore their own flaws and inability to understand one another as this relationship is coming undone. Johan and Marianne may have their likeable traits but they also have traits that make them despicable as their love for each other is equaled by their disdain towards another.

Bergman’s direction is very understated in the way he presents the film such as the opening scene where even though Marianne and Johan are smiling and have to present their children for the interviewer. There’s little moments where it is obvious to the audience where they’re very uncomfortable knowing that this is not going to be a movie about the good aspects of marriage. In fact, marriage is tough for anyone as Bergman is always observing what is happening in the life of Johan and Marianne. Notably as they seem strung out and feeling tired by the routines of their life early in the first act as they each delve into their separate professions.

By the time the second act is around, the secondary characters are gone as the focus is one Johan and Marianne where Bergman allows the camera to be the invisible observer to see this marriage unravel. Notably as he creates startling compositions where he would have both individuals framed in some stylized fashion to complement who is shadowing who in this conversation. The use of the close-ups add a very claustrophobic element to the direction as the characters start to come undone as if all of their issues are closing in on them. Once the film progress and the unraveling of the marriage intensify, the quiet and reserved tone of the film that had moments of outbursts suddenly becomes more vicious as the characters finally just have it all out. While the ending is more somber and reflective, it is Bergman allowing these two people to get a chance to reveal how much they meant to each despite everything. Overall, Bergman creates a truly touching yet harrowing film about the world of marriage.

Cinematographer Sven Nykvist does an excellent job with the film‘s very low-key yet entrancing photography to complement the tone of the film where it starts off being colorful and vibrant to becoming more darker and ominous towards the end of the film. Editor Siv Lundgren does a superb job with the editing to emphasize on methodical yet straightforward cuts to capture the intensity of the conversations as it includes a montage of pictures of Marianne who is reading her own work to reflect her life. Production designer Bjorn Thulin does a nice job with the set pieces created such as the home that Johan and Marianne live in to the cabins they spend their weekends at to the more chilling office where they go over the divorce papers.

Costume designer Inger Pehrsson does a terrific job with the costumes to emphasize the personality of these characters such as the more stylish Marianne with her dresses and choices of pajamas to the more reserved look of Johan to complement his own personality. The sound work of Owe Svensson is very good for the sparse intimacy that occurs in the set pieces as the characters argue and interact as it involves small sounds of objects and such.

The casting for the film is brilliant as it features small roles from Anita Wall as the magazine interviewer, Gunnel Lindblom as Johan’s colleague, Barbro Hiort af Ornas as the woman Marianne interrogates for a divorce case, Jan Malmsjo as the very brash Peter, and Bibi Andersson as the cynical Katarina. The film’s best performances definitely go to Erland Josephson and Liv Ullmann in their respective roles of Johan and Marianne. With Josephson providing a more calm performance as a man who loves his wife as he later becomes a man filled with shame as Josephson starts to become intense and cruel over the guilt he’s feeling. Ullmann displays a liveliness to her character early in the film as well as displaying the anguish over everything as she becomes terrifying in the anger she displays. Josephson and Ullmann’s chemistry is truly mesmerizing to watch in the way they caress each other and how they yell and fight each other as they gives career-defining performances.

Scener ur ett aktenskap is a haunting yet powerful drama from Ingmar Bergman featuring outstanding work from Liv Ullmann and Erland Josephson. The film, in its shortened 167-minute theatrical version, is quite remarkable in the way dissolving marriages are observed without going into heavy melodrama or moments of over-wrought sentimentality. It is among one of Bergman’s essential films in the way he observes human behavior as well as the world of love and all of its complications. In the end, Scener ur ett aktenskap is a remarkable film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music in Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (Karin‘s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012