When I found out this was Bergman's debut it made sense straight away. It's shot very much like a play, together with the voiceover 'stage directions', and definitely feels more theatrical rather than cinematic. The story is pure melodrama and sticks rigidly to those common tropes. It is also laced with humour, which makes it one of the lighter, more comic of his early works. Recommended.
The blueprint for later Bergman films. I enjoyed it in parts, particularly in segments; the ball, and the harrowing climactic scene. Character motivation: they all think Nelly can fulfill their desperate lives. In the end, she is only human - a beautiful, naive human.
My first time watching a Bergman film, thoroughly enjoyed! Crisis does have it's weaknesses but never does it seem to suffer from them enough to throw you off the whole piece. If anything they add to it's charm. The overt dramatisation is reminiscent of the play it is based off of, and the heavy psychological aspects add some depth to the characters, which would otherwise be lacking. Overall a solid debut!
Rather tatty, inconsequential little melodrama, saddled with a score best suited to a cheap radio serial. Stifling conventional attitudes are questioned but ultimately affirmed. There's some interest in a few of the characterizations, and the acting is good, but it's a drab work overall.
CRISIS has all the earmarks of a debut; it is bold and scrupulous in conception, somewhat awkward in execution. If the performances seem slightly off they are so consistent in their manner of being so as to suggest something like a method. We may at first think the film is an outrageous reactionary critique of cosmopolitanism, but a truly astonishing scene an hour in confirms that something far richer is at hand.
While marred by conventions of the time (the overwrought score is particularly jarring), it has moments where Bergman's voice emerges (the confrontation scene in the hairdresser's, for example). Overall, a strong debut with a memorable performance from Stig Olin . . .
Based on a play. I sometimes wondered, during some scenes, if Bergman was ahead of his time or simply clumsy. And the motivations of the character played by Stig - Jack - Olin are a mystery to me. In his first scene, he's described as a no good would-be actor interesting in Jenny's money then finally as a desperate romantic/nihilistic hero. Nevertheless, a few germs of Bergman Cinema are here: theater, sex, illness.
A very strong debut that I think is often underrated/overlooked because it doesn't quite compare with some of Bergman's best films. and it is very straightforward. But compared to many films of the 40s, I think it was cinematically advanced and has many of the great Bergman qualities. Almost four stars.
Ingmar Bergman en su primer filme ya dialoga sobre el conflicto humano. Temas como el colapso existencial, la muerte, la enfermedad, el nuevo rumbo del destino que responde agresivo, pero necesario para la madurez (triste, melancólica y sufrida) o como simple síntoma de la vida. Todos sus personajes son víctimas de una crisis. Todos son víctimas del egoísmo.
Bergman's first film feels strained at points but is still a highly enjoyable watch that shows the first threads of the narrative and philosophical issues he would go onto deal with later in his career. Definitely a must-watch for all Bergman fans.