35mm. Even in his films before his prodigious decade (60s), in which he acquired an authorism's style (the metaphysical drift, above all), one can see what a great filmmaker Bergman is, above all at the level of image composition. Look at the whole long initial sequence in the photographic studio, without dialogue and the scene in the rain at the train window: how photogenic are the subjects under his look!
Bergman does a Woman’s Film. Many Bergman films are full of or centering on women but its interesting how one of his least critically successful films is one of the few where the women don’t begin and end the film neurotic and suffering. To deride this as a “stylized melodrama” is to forget that that’s what the majority of Bergman’s films are.
It's not Bergman's strongest script, nor it is Andersson's best role. There are two great scenes in here - the first photo shoot and the train ride - but they come very early and no other moment can even reach those masterclasses in direction.
'Early' Bergman (about his 15th feature) delivers several trademark moments, while it's a perfect – perfectly entertaining – movie by classic standards. It's a pity he dropped plain good humour from his toolbox later on. Almodovar could do a good remake.
35mm. Human fates coming and going, a nice natural rhytm, the fast changing human mind shown with few words, like only Ingmar could do it. I actually think his early films have something special he later lost I can't quite find words for. The elegant silent opening was echoed by the projectionist screwing up the sound while he was away talking in the phone. No respect for cinema. 4.5
A sympathetic comedy about the existential crisis in the couple. Perpetual rebounds, reminiscences, jealousy and the boring life of the little bourgeoisie. However this one looks more like a formalistic exercise than a real accomplished and personal film.