This is prob the film where Bergman was just on the cusp of greatness, and that becomes fully realized in his subsequent films starting w/ Stardust and Tinsel. Novel look at teenage love & how it can turn to angst & misery oh so quickly. Location shooting is great, & the actors are particularly believable as teens coping w/ the drama of an unplanned pregnancy. A very accessible Bergman. 4.5 stars, not to be missed.
One of Bergman's very best. A mature, confident, textured, observant, and sneakily funny anti-romance. The candid goings-on of smoky working-class Stockholm are wisely afforded as much screen time as the directionless youth. Criterion's restored original cut is a wonder; there's a meticulous depth to these images, deserving of a crisp transfer.
I'm such a sad boy Harry. It sucks being obsessed with someone, especially when you're young and impressionable and it's your first time! Also it sucks not knowing what you want so that when you find yourself trapped in an undesirable situation it seems impossible to have foreseen it. It becomes impossible to stick around. It's midnight, and I'm emotional.
My first Bergman film in which Bergman is not the original scriptwriter. Bergman's original scripts have proved to be better material. The film is realistic and the end sequences commendable without a spoken word. The household effects sold off, visual recollection of the good times with Monika, the door of the pub where Monika and Harry met initially, and a reflection of an older Harry with his baby in his arms.
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.