In TO JOY Bergman uses supreme elegance of technique to support what is at times a deeply ugly character study, in which an exaggerated caricature of the repugnance of the "artistic temperament" of certain young men sets the stage for a lesson as vital as they come: every genius is also an idiot, and wisdom can only arrive for those whom experience has humbled, often as not having had to do so violently.
After the blind pianist of 'Music in Darkness' and the injured dancer of 'Thirst', here's Stig Olin the violonist, another artist unable to fulfill his dream. His frustrations threaten his marriage. It seems that Ingmar Bergman, during the 1948/1950 period, tells us a lot about his personal life. Recommended.
Sin duda, la más "alegre" historia realizada por el sueco. Bergman sigue con los relatos de amantes que luchan por reprimir sus frustraciones, los cuales salpican hacia sus también frustrados amantes, armándose por fin el drama o incluso hasta la tragedia. En "Hacia la felicidad" sucede esto, más por culpa de la fatalidad. Dentro de las peleas, crisis y separaciones, hay un enorme espacio para la felicidad misma.
An emotional tale of a young violinist, whose egotistical desire to become a great artist makes him cruel, but who learns from his wife and children that life is more important. It's an expertly told Ophuls/Lean-like melodrama of the art world. And highly cinematic - in the use of roaming cameras throughout; in the use of abstract visuals of white/black; and in scenes shot in natural settings. Terrific faces too.