A sophisticated, ambiguous treatment of adolescent rebellion and escapism. The famous extended close-up dares us to judge Monika in the face of all we have seen of her family and society. A bleak humanistic film. Fischer's photography captures both the idyllic and threatening nature of the archipelago (with fascinating glimpses of 1950s Stockholm). Ekborg's vulnerable performance should not be ignored either.
4.5. A film for sad boys who love the cool girls. Harry and Monika are wholly believable teenagers, variably utterly endearing and utterly insufferable. While a young Woody Allen might have watched it for Harriet Andersson, I found Lars Ekborg at times almost heart-breakingly cute. I kept wanting to ruffle his hair! If you didn't have a ill-advised relationship as a young person, live through it vicariously here!
Ingmar Bergman directs this tale of young love, rebellion, and the encroaching responsibilities that life always has at the ready. The main performances are very good, but the real beauty comes from the pacing and handling of what could have been unremittingly depressing material.
Never read these reviews before you see the film obviously as most people just like to describe everything that happens, it's amazing, they watch the film then describe what happens, such powers of memory! And If you can follow it with a self-aggrandising judgement of Ingmar Bergman no less! Anyway, my review, there's a girl and a boy and they go on their hols...
What a lovely film! Bittersweet, romantic, pure; but also tense, sad, melancholic. The allegory of summer is so poetic - the season of joy, openness, freedom. And as it comes to an end, autumn comes along and brings with it a reality so different. I actually wished their love would last forever...
A simultaneously joyful and devastating discovery of young love and the pitfalls of growing up too fast. When the young couple run away life seems good, they have freedom away from parents, no job, yet survive by stealing and foraging for food, but they soon discover the carefree life can only last for so long, and Bergman shows us the brutal reality of a young female becoming pregnant, while still too young.
I am not sure what there is with this film, but it works while the acting is sometimes unconvincing, the story predictable and while the photography is really good it does not sustain the film by itself. I think the delicate ellipses and having to fill the gaps is what makes this a gem.
Bergman's masterclass in photography contrasts with this otherwise naive vision of juvenile love in which gender traits are portrayed as ostensibly dichotomous, characters carefully observed and sanctity and wickedness clearly differentiated. Whilst love frolics about through countless mesmerising visions of youth and nature, Bergman poisons the mood to end up on a crescendo of psychopathy and bitter resentment.
This is more influential on Godard than people give it credit for - ten or so years later he would sort of remake it as Pierrot le Fou. Monika is undoubtedly the dream, the idea... The explosion of youthful naivete and adventure that cannot be contained for more than a moment. I am in love with Andersson.
Better placed alongside 'The Graduate' or '(500) Days of Summer' than Ingmar Bergman's more famous films. This is a film about youth and young love but for better or worse the character of Monika defines this film. Her vulnerability and naked frolicking in rock pools make her very endearing but she also feels like a twisted one-dimensional interpretation of a woman, a character only a boy could imagine exists.
A beautiful ode to youthful alienation and rebellion with a slightly hurried but affecting conclusion. The first part of the film, with its portrait of generational conflict and teenage audacity, feels timeless in the same way as Catcher in the Rye. The final act is less profound, but does contain some powerful moments.
This captures overwhelming sensations. Falling in love, hormones in pregnancy, not having maturity to cope, absence of guidance and role models. Another woman I love in this story is aunty. She is a constant force, keeping those she loves on track. Monika is an authentic character, and throughout, I can see why the men and boys around her want to capture her, have her, enjoy her, and her urgent youth.
'The nature' has rarely been so enticingly photographed in monochrome as it is here, where its used to convey the innocent fecundity and aspirations of the runaway's in their summer of love. Its all so wonderfully visceral. 'God made the country and man made the town'. Damn right!