Criterion Sunday 613: Sommarlek (Summer Interlude, 1951)

One of Bergman’s earlier films, he’s finding his way to some of his most enduring themes here, via the story of a traumatic past haunting the present for a ballerina, Marie (Maj-Britt Nilsson). But it’s not just trauma: there are truly happy moments that seem to mock her from the past, as she labours in misery with a rather priggish and accusatory boyfriend (Alf Kjellin). Of course, her first love Hendrik (Birger Malmsten) had his faults too, but the past scenes, teenage years by a lake, lit brightly, with an effervescence to them, feel like a different film (despite the actors being the same). They pick wild strawberries, they go for a swim, there’s a joy that’s clearly lacking in the present day scenes. But light and darkness are intermingled, and the memories of the past can bring respite to us, though as ever in Bergman the solaces of religion are of variable quality.

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FILM REVIEW: Criterion Collection
Director Ingmar Bergman; Writers Bergman and Herbert Grevenius (based on a story by Bergman); Cinematographer Gunnar Fischer; Starring Maj-Britt Nilsson, Birger Malmsten, Alf Kjellin; Length 96 minutes.

Seen at home (Blu-ray), Wellington, Tuesday 17 January 2023.

Criterion Sunday 579: Körkarlen (The Phantom Carriage, 1921)

There’s a lot going on in this silent film, which is based on a novel by the first woman to become a Nobel Laureate in Literature (Selma Lagerlöf). The story is of a layabout drunkard called David Holm, who has abused his wife, left her and his children and is slowly drinking himself to death carousing with his friends. And yet a Salvation Army woman, Sister Edit (Astrid Holm), believes he can be redeemed, and she calls for him on her deathbed — apparently too late, though.

Just at the story level, via the device of the dying woman seeking to save his soul, we are drawn sympathetically to the story of David (played by the director himself, still most famously known as the lead in Bergman’s Wild Strawberries), despite his being repeatedly a compromised, abusive and unlovable man. But what’s striking is the way this is all unfolded, in a series of flashbacks nested within other flashbacks, stories within stories, as like the narrative structure itself we start to get closer to the heart of this character. And all of this is quite aside from the central titular conceit of the film, which is that one who dies at the chiming of New Year’s Day has to serve Death by riding his carriage to pick up the dead bodies.

Putting that all together — the intense melodrama, the supernatural horror — makes this an extremely evocative film, and the Criterion release has an excellent musical score by Swedish composer Matti Bye complementing the on-screen action perfectly.

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FILM REVIEW: Criterion Collection
Director/Writer Victor Sjöstrom (based on the novel of the same title but usually translated as Thy Soul Shall Bear Witness! by Selma Lagerlöf); Cinematographer Julius Jaenzon; Starring Victor Sjöstrom, Hilda Borgström, Astrid Holm; Length 106 minutes.

Seen at home (Blu-ray), Wellington, Wednesday 5 October 2022.

Criterion Sunday 537: Ansiktet (The Magician, 1958)

I know this will come as a great surprise to all adherents of the cinema of Ingmar Bergman, but this is a film about faith, about the failures and disappointments of organised religion but also about the supernatural, using a Christ-like central figure to channel doubts about the divine. Added to this, it is, as is perhaps rather more underappreciated when it comes to Bergman, essentially a comedy, albeit one with a body count by the end, though everyone just seems to shrug that off (but maybe that’s more a sign of the times). No this is in many respects a bawdy, silly romp but with added occultism (and a touch of horror, too), as Max von Sydow’s apparently mute mesmerist Albert Vogler travels around towns with his little magical sideshow. But… is there more to his powers? The scepticism of one small town he enters, particularly of Gunnar Björnstrand’s physician Vergerus, open up these questions, to which von Sydow’s baleful eyes do a lot of answering. It’s pretty good, made during Bergman’s imperial (and rather more comedic) phase, well worth watching especially if you think it’ll be too dour.

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FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographer Gunnar Fischer; Starring Max von Sydow, Gunnar Björnstrand, Ingrid Thulin, Naima Wifstrand, Bengt Ekerot, Bibi Andersson; Length 101 minutes.

Seen at the Embassy, Wellington, Monday 18 July 2022.

Criterion Sunday 520: Maria Larssons eviga ögonblick (Everlasting Moments, 2008)

There are a number of Jan Troell films in the Criterion Collection and this just happens to be the first of those titles to have been put out by them, but despite having constructed myself a rigorous schedule by which to watch them in order (two every Sunday, as you should know by now!), I still managed to put off this one because it sounded boring. In a sense, it is what I thought it would be — a slow, elegiac ode to a lost personal history — but it also stays clear of being boring by having some fine performances, anchored in a history that feels close to Bergman’s Fanny and Alexander (a high bar), while also somehow being a film reflecting on what it is to be a journeyman artist. Our lead character Maria (played by Maria Heiskanen over a period of years) is seen from her youth through to old age, dealing with a moody husband and an increasing number of children while also occasionally showing some interest in photography. It’s a film that’s about the past enough that it looks like an old film, all sepia tones and earthy colours, but it’s the complexity in the characters and the way that what might become simple moral stories become more layered and complex, as Maria becomes stronger in herself but never quite does what people expect. It’s a very handsome movie, and that’s a fine thing, almost a lost art itself.

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FILM REVIEW: Criterion Collection
Director Jan Troell; Writers Niklas Rådström, Troell and Agneta Ulfsäter-Troell; Cinematographers Troell and Mischa Gavrjusjov; Starring Maria Heiskanen, Mikael Persbrandt, Jesper Christensen; Length 131 minutes.

Seen at home (Blu-ray), Wellington, Saturday 28 May 2022.

NZIFF 2021: Pleasure (2021)

Somehow even amongst the more solidly film festival fare at Whānau Mārama – New Zealand International Film Festival, Sweden’s Pleasure manages to stick out, not least because it is very much set in the USA and is about a subject that feels somehow inextricably linked to LA, which is the adult film industry. And yet it’s still a festival film, an arthouse drama, a film that is about people working within that industry without (at least I don’t think) being exploitative or shaming, which most films dealing with the topic tend to do. It’s hardly uplifting, of course, but I admire what it does, though I daresay it will be controversial.

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Isn’t it odd the way that films titled for an abstract noun with largely positive connotations often entirely lack that quality (my mind goes to films with titles like Happiness, Joy and so forth). Well, it’s much the same here, although to my mind this film at least avoids the pitfalls of being preachy and moralistic. This is a film about Linnéa (Sofia Kappel), a young Swedish woman who travels to LA to get involved in the p0rn industry under the soubriquet Bella Cherry, but the film is not really interested in why she made that choice or about wagging its finger at her for having made it. As far as we see in the film, Bella just wants to do something she enjoys, and while her experiences aren’t uniformly positive, there’s a camaraderie that grows between her and others in the same industry that develops over the film. And though it could be said to sour towards the end, it’s not played for high melodrama or camp (as in, say, Showgirls) but instead is allowed to have a complex emotional range, chiefly expressed in the relationship between Bella, her imperious arch-rival (at least in Bella’s head) Ava, and her housemate Joy (Revika Anne Reustle), who falls lower down the pecking order it seems.

All of the cast seem to be taken from the adult film industry, and in most cases give pretty believable naturalistic performances, even the sleazier agents and directors. And while it is clearly going to be a divisive film, to my mind it doesn’t play as exploitative, but instead has a certain kinship to, say, Sean Baker’s films. There’s a beauty to all this mess, but primarily this a drama charting the messy but often healthy relationships that develop, as well as the pitfalls too. These latter are not exclusively amongst male-dominated sets, but are certainly exacerbated by certain male egos, and there’s a striking contrast made between the carefully delineated consent and constant attention she’s given in a bondage video directed and staffed by women, and a rather more naturalistic depiction of rough sex in a video made by men. Plenty of this is at times quite disturbing, but the film is judicious and balanced in its depiction of a sordid world.

CREDITS
Director Ninja Thyberg; Writers Thyberg and Peter Modestij (based on Thyberg’s short film); Cinematographer Sophie Winqvist Loggins; Starring Sofia Kappel, Revika Anne Reustle; Length 105 minutes.
Seen at Roxy, Wellington, Wednesday 17 November 2021.

Criterion Sunday 477: Bergman Island (2006)

There’s a film with the same title directed by Mia Hansen-Løve currently doing the festival circuit rounds, but this is not that film, it’s rather the Criterion release of a documentary about Ingmar Bergman, filmed a few years before his death in his reclusive life on the island of Fårö. It’s edited down from a much longer conversation, and you can see snippets of the rest appearing as introductions to the various Bergman films in the collection as he talks about his own films. However for this documentary a lot more focus is on his own life as an artist, with a few clips from his films and some discussion of a handful of specific titles, but really it’s about him as a creator and about him as a person. The latter leads to the most revealing stuff, as he admits to having been a cruel man in his life, playing with women’s feelings (he had five wives, nine children and a string of affairs). But perhaps the most indelible turning point is his return to Sweden after being invited to a pool party by Barbra Streisand. I’m sorry, Ingmar, you made some good movies but that was the wrong choice.

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FILM REVIEW: Criterion Collection
Director Marie Nyreröd; Cinematographer Arne Carlsson; Length 83 minutes.

Seen at home (Blu-ray), Wellington, Sunday 7 November 2021.

Criterion Sunday 416: Fröken Julie (Miss Julie, 1951)

I’ve actually seen this Strindberg adaptation before (16 years ago), and I’ve seen others too, but I don’t really retain anything of it, perhaps because I don’t particularly get on with the text. It feels a little bit pointedly about the terrible toll that an interest in women’s rights might get you to from a tut-tutting older Swedish man, and that may be a little unfair, but at the very least it’s certainly melodramatic. That said, this film is a stylish adaptation at times, which takes the play and interleaves past and present in an almost modernist way. This is most evident when the camera sweeps around from the present to the past in a single fluid motion, as the title character recalls her unhappy childhood and her fiercely independent mother, who is seen framed by flames with a wry smile on her face at one memorable point. Then there’s Julie’s romance with the groom, Jean (Ulf Palme), a mere servant though splendidly attired, which starts out flirtatiously but eventually descends into all the metaphorical angst in the world (caged and crushed songbirds, grand paintings collapsing on our leading man, flames and madness licking around this rotten world). There’s certainly stuff to like here, and Anita Björk gives an impressively imperious performance, but it’s Strindberg’s vision of the world that probably puts me off.

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FILM REVIEW: Criterion Collection
Director/Writer Alf Sjöberg (based on the play by August Strindberg); Cinematographer Göran Strindberg; Starring Anita Björk, Ulf Palme, Märta Dorff; Length 90 minutes.

Seen at Tate Modern, London, Sunday 17 April 2005 (and most recently on DVD at home, Wellington, Sunday 18 April 2021).

Criterion Sunday 412: Gycklarnas afton (Sawdust and Tinsel, 1953)

There is, rarely, any film so bleak as one set in a travelling circus, it sometimes seems. This film predates Bergman’s travelling players of The Seventh Seal (a much funnier film), but is set closer to the contemporary world, and has some of the visual acuity he would continue to display in later films. There’s a gorgeous use of monochrome cinematography, deep and penetrating shadows and blown-out sunny shots (as in the flashback retelling of the clown’s humiliation) thanks to Sven Nykvist, his first collaboration of what would be many with Bergman. That early scene with the clown (Anders Ek), though, is very much a microcosm of what the film ends up being about: men and women humiliating one another in love. Our circus master Albert (Åke Grönberg) is desperate, it turns out, to leave behind the carny’s life, his younger girlfriend Anne (Harriet Andersson) finds herself attracted to an actor (Hasse Ekman) who turns out to be a creepy abuser, and some desultory fighting ensues that leaves everyone needing to pick up the pieces. There’s not much hope in the end, just ruined lives, and if the characters keep on living them, you get the sense that it won’t be long before they try again to get out by whatever means necessary.

CRITERION EXTRAS:

• There’s relatively little in the way of extras on this Blu-ray, but there’s a short introduction by Bergman filmed in 2003, in which he relates some scathing contemporary reviews he received, as well as the feeling that he quite likes this early film of his.

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FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman; Cinematographers Hilding Bladh and Sven Nykvist; Starring Åke Grönberg, Harriet Andersson, Hasse Ekman, Anders Ek, Gunnar Björnstrand; Length 92 minutes.

Seen at home (Blu-ray), Wellington, Friday 2 April 2021.

Ouaga Girls (2017)

Following this morning’s review of Even When I Fall, my mini-theme today (within my Sheffield Doc/Fest week) is documentaries that take us to different parts of the world. Although this is of course something that a lot of documentaries do, finding a subject that hasn’t been covered can sometimes be difficult, but it’s fair to say there aren’t many documentaries out there about women’s vocational training centres in Burkina Faso, so it’s great to see inside this one.

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The film takes the familiar route of following a small number of people amongst those studying at this Ouagadougou auto mechanics training centre, women who are taking car bodywork lessons to go to work for garages in what is repeatedly referred to as ‘men’s work’. The personalities of the various women all come out slowly, not least because at school they are all largely respectful and quiet (perhaps the situation, or maybe it’s the presence of the camera), but there are some strong words about the importance of this education to them. The film is also made with a fair bit of style of its own, carefully edited and framed well, especially in the introductions near the start. On the whole, it’s a likeable and interesting film about women in an unlikely place.

CREDITS
Director Theresa Traoré Dahlberg; Cinematographer Iga Mikler; Length 82 minutes.
Seen at Curzon Bloomsbury (Bertha DocHouse), London, Friday 20 October 2017.

Criterion Sunday 321: Jungfrukällan (The Virgin Spring, 1960)

Every exploitation genre has its austere or vaunted arthouse predecessor, and just as slasher horror in 1960 had Psycho, so the rape-revenge film has Ingmar Bergman here. That said, I don’t mean to impugn it by association; the bleakness and moral ambiguities are very much intended by Bergman, and you can tell what’s coming by quite how innocent and jolly the opening third is, as Karin (Brgitta Pettersson), the daughter of farmer Töre (Max von Sydow), prepares for a journey to church through — of course — a big scary forest, the very sight of which seems to push their servant (Gunnel Lindblom) into overacting/breakdown. In that sense the folktale elements loom large (and is indeed adapted from a 13th century narrative, though these are themes that recur throughout fairytales and legend), and the fate of our titular virgin is pretty clear as soon as these elements are introduced. I think what sets the film apart is the moral complexity and even dubiousness that’s cast on the revenge, and though the father purifies himself and atones for his sins, there’s a clear sense that what he’s doing has some equivalency to the crimes he’s punishing, albeit given thin justification with invocations of God (and I don’t think Bergman is presenting this as a particularly Christian victory). This film also marks his first major collaboration with Sven Nykvist, the cinematographer who could go on to make most of the rest of his films, and it is immaculately lensed, with great expressive pools of light and dark as the film progresses.

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FILM REVIEW: Criterion Collection
Director Ingmar Bergman; Writer Ulla Isaksson (based on the traditional ballad “Töres döttrar i Wänge” [“Töre’s Daughters in Vänge”]); Cinematographer Sven Nykvist; Starring Max von Sydow, Birgitta Valberg, Gunnel Lindblom, Birgitta Pettersson; Length 90 minutes.

Seen at home (Blu-ray), London, Sunday 31 May 2020.