Summer Interlude (1951) came out only one year after To Joy, and in some ways it’s a remarkably similar setup. Again, we have an older character looking back at a youthful romance and its consequences. Again, the protagonist is an ensemble artist: where Stig (Stig Olin), To Joy‘s protagonist, was an orchestra violinist, Summer Interlude‘s Marie (Maj-Britt Nilsson, who also starred with Olin in the earlier film) is a ballerina. In both films, love and death become intertwined. However, while To Joy is an often bitter film that suffers from a grating manchild protagonist, Summer Interlude is a much more joyous film and perhaps the first of Bergman’s early works in the collection that is not just engaging in parts but a pleasure to watch as a whole.Continue reading
Making my way through Criterion’s Ingmar Bergman collection, I am impressed by the director’s collection of self-pitying man-children.
Did I say “impressed”? I meant “annoyed”.
Admittedly, I wasn’t a big fan of the second and third film in Criterion’s Bergman collection, Crisis and A Ship to India, but they were interesting as stepping stones towards the director’s more accomplished later films – and Wild Strawberries is definitely an illustration of those works and, after Smiles of a Summer Night, the second highlight of the collection.
Apparently Bergman wasn’t a huge fan of the first film he directed, Crisis (1946), which he called “lousy, through and through”. He wasn’t much kinder to his third, A Ship to India (1947), referring to it as “a major disaster” – except when his producer Lorens Marmstedt called to urge him to cut the worst parts, at which point Bergman rose to his film’s defense: “I informed him that I had no intention of cutting even one foot from this masterpiece.” Bergman may have been young and relatively inexperienced, but obviously he already had an ego to match a much more accomplished director.