Not only a comedy, but a comedy with all the classical hallmarks of comedy, SMILES OF A SUMMER NIGHT nonetheless becomes, due to its overall seriousness, a film of disarmingly profound nobility. It is so outrageously great that it is practically harmful. Though its wisdom is a kind of encompassing, paternalistic wisdom, much of the considerable humour of this lively chiaroscuro masterpiece is based in emasculation.
Hilarious romance, with slightly serious undertones that touch on Bergman favorites such as faith, desire, restraint, and pretention. The base, lusty maid and stableman that close the film seem to embrace an earthy, honest humanism that the bourgeoisie only brush through their formal trappings. Music and effects overdone & some makeup is questionable. Dinner scene & landscapes gorgeous. Wonderful acting, esp Dahlbeck
★★★ / DCP/ Bergman’s amusing sex farce has a brooding underbelly populated with unhappy devious characters. For me the first half lulls, while the second, as the characters arrive at the estate brims with inventive charm, such as the sexual frenzy of the priest in training, the foiled suicide, Harriet Anderson’s lusty Petra. A rare, successful venture into comedy for Bergman.
A flawless comedy, perfectly written, staged and performed. At the same time light and bitter, every character is lovable despite (and because of) his or her own flaws; at the end of the game, it feels like everything piece's gone in its right place. Fun, smart, sweet. A delight.
Réalisé sur le mode léger et badin du vaudeville sentimental, le film d'Ingmar Bergman flirte agréablement avec un hédonisme serein et tranquille où l'amoralisme bon enfant est de rigueur, ainsi qu'une inébranlable foi en l'homme. De plus, une intelligente présence des acteurs et une réalisation perfectionniste complètent notre contentement artistique. www.cinefiches.com
Who knew Bergman had such a charming, giddily sexy comedy in him? Really fun stuff, but not without the director's incisive, provocative commentary on romantic relationships. Everyone is seeking something functional and complimentary; Romeo & Juliet's codependent melodrama is heavily satirized. Love is a matter of patience and timing here, something Bergman both laments and celebrates.