#Gunnar Sjöberg

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"Änglar, finns dom?" (1961) - Lars-Magnus Lindgren

Films I've watched in 2022 (105/210)

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Love is a surgeon Love can cut into your flesh like a scalpel Love can operate upon your heart.

— Gunnar Ekelöf, Selected Poems, transl by W. H. Auden & Leif Sjöberg, (1971)

[byneddiedingo]

Ingrid Thulin and Victor Sjöström in Wild Strawberries (Ingmar Bergman, 1957)

Cast: Victor Sjöström, Ingrid Thulin, Bibi Andersson, Gunnar Björnstrom, Jullan Kindahl, Folke Sundquist, Björn Bjelfvenstam, Naima Wilfstrand, Gunnel Broström, Gunnar Sjöberg, Max von Sydiow, Ann-Marie Wiman, Gertrud Fridh, Åke Fridell. Screenplay: Ingmar Bergman. Cinematography: Gunnar Fischer. Production design: Gittan Gustafsson. Film editing: Oscar Rosander. Music: Erik Nordgren.

The portrait of old age in Wild Strawberries was created by a writer-director who was 39, which is about the right time for someone to become obsessed with the past and with the portents of dreams. In the film, Isak Borg (Victor Sjöström) is 78, and by that time most of us have come to terms with the past and made sense of (or perhaps just accepted as a given) the memories and dreams that persist in haunting us. But although Bergman's film, one of the handful of breakthrough films he made in the mid-1950s, may not ring entirely true psychologically, it holds up thematically. Isak Borg is about to be commemorated with an honorary degree, one that stamps him as over the hill, and it's not surprising that it forces him to reflections about the course of his life. He is not about to go gentle into a night that he thinks of as neither good nor bad, but the journey he takes during the film -- this is an Ingmar Bergman "road movie," after all -- helps him decide to accept his life, mistakes and all. The brilliantly crabby performance by Sjöström holds it all together, even though the movie occasionally misfires: The squabbling young hitchhikers Anders (Folke Sundquist) and Viktor (Björn Bjelfenstam), who come to blows over religious faith, could almost be a self-parody of Bergman's own obsession, which would play itself out in his "trilogy of faith," Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963). And the dream sequence in which Borg sees his late wife (Gertrud Fridh) and her lover (Åke Fridell) adds little to our understanding of the character. It's also possible to find the reconciliation of Borg's son (Gunnar Björnstrand) and daughter-in-law (Ingrid Thulin) a little too easily achieved, as if thrown in as a correlative to Borg's own affirmation. The radiant performance of Bibi Andersson in the double role of Borg's cousin Sara and the young hitchhiker who shares her name, however, almost brings the film into convincing focus. I don't think Wild Strawberries is a masterpiece, but it's certainly one of the essential films in the Bergman oeuvre.

[present--absence]

Wild Strawberries, 1957

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Smultronstället (AKA Wild Strawberries) | Ingmar Bergman | 1957

Victor Sjöström, Gunnar Sjöberg, Björn Bjelfvenstam, Folke Sundquist, Bibi Andersson, Gunnel Broström

[erstwhile-punk-guerito]

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[frankenpagie]

4.14.19

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Smultronstället (1957)

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"Änglar, finns dom?" (1962) - Lars-Magnus Lindgren

"February Film Favourites" Day 27/28

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Straight through me shone the Sun and the Moon And only Your shadow gave my soul Substance and Presence.

— Gunnar Ekelöf, Selected Poems, transl by W. H. Auden & Leif Sjöberg, (1971)

[byneddiedingo]

Jarl Kulle and Bibi Andersson in The Devil's Eye (Ingmar Bergman, 1960)

Cast: Jarl Kulle, Bibi Andersson, Stig Järrel, Nils Poppe, Getrud Fridh, Sture Lagerwall, Georg Funkquist, Gunnar Sjöberg, Gunnar Björstrand. Screenplay: Ingmar Bergman, based on a radio play by Oluf Bang. Cinematography: Gunnar Fischer. Production design: Edvin Laine, P.A. Lundgren, Mario Soldati. Film editing: Oscar Rosander. Music: Eric Nordgren.  Molière, Mozart, Byron, Pushkin, Kierkegaard, Shaw, and Camus have all had their go at Don Juan, so why not Ingmar Bergman? This rather turgid and talky fantasy has the Don (Jarl Kulle) returning to Earth to seduce Britt-Marie (Bibi Andersson), a young woman whose virginity has caused a proverbial sty in the devil's (Stig Järrel) eye. That so much ado is made about the virginity of a woman about to be married in 1960's Sweden is only one of the problems with the movie's setup. She's the daughter of a vicar (Nils Poppe) in a small Swedish village whose wife, Renata (Gertrud Fridh), feels neglected and has sunk into a psychosomatic invalidism. When Don Juan arrives, he brings along his manservant, Pablo (Sture Lagerwall), who takes it on himself to seduce Renata. What starts out to be a sex farce turns into a disquisition on the nature of love. It's not helped by the archness of some of the performances, especially Andersson's. She's made up and costumed to look like the heroine of an early 1960s domestic sitcom like The Donna Reed Show, and it's hardly plausible that she should choose her goofy fiancé, Jonas (Axel Düberg), over the brooding but intelligent Don. Bergman clashed with his longtime cinematographer Gunnar Fischer during filming, putting an end to their collaboration but opening the way to an even more fruitful one with Sven Nykvist.  

[elcinelateleymickyandonie]

Ingrid Thulin.

Filmografía

- Jørund Smed (1948) - Niña

- Havets son (1949) - Gudrun

- Kärleken segrar (1949) - Margit Dahlman

- Hjärter Knekt (1950) - Gunvor Ranterud

- När kärleken kom till byn (1950) - Agneta

- Leva på 'Hoppet' (1951, Director: Göran Gentele ) - Yvonne

- Möte med livet (1952) - Viola

- Kalle Karlsson från Jularbo (1952) - Elsa

- En skärgårdsnatt (1953) - Ingrid

- Göingehövdingen (1953) - Anna Ryding

- I rök och dans (1954) - Mujer en el pajar (sin acreditar)

- Två sköna juveler (1954) - Lilly Fridh

- Danssalongen (1955) - Cecilia

- Hoppsan! (1955) - Malou Hjorthage

- Intriga extranjera (1956, Director: Sheldon Reynolds ) (con Robert Mitchum ) - Brita

- Det händer i natt (1957) - Lily

- Smultronstället / Wild Strawberries (1957, Director: Ingmar Bergman ) (con Victor Sjöström ) - Marianne Borg

- Nära livet / Brink of Life (1958, Director: Ingmar Bergman ) - Cecilia Ellius

- Ansiktet / El mago (1958, Director: Ingmar Bergman ) - Manda Vogler

- Domaren (1960, Director: Alf Sjöberg ) - Brita Randel

Cuatro jinetes del Apocalipsis (1962, Director: Vincente Minnelli ) (con Glenn Ford ) - Marguerite Laurier

- Agostino (1962, Director: Mauro Bolognini ) - La madre de Agostino

- Nattvardsgästerna / Winter Light (1962, Director: Ingmar Bergman ) (con Gunnar - Björnstrand , Max von Sydow y Gunnel Lindblom ) - Märta Lundberg

- Tystnaden / The Silence (1963, Director: Ingmar Bergman ) (con Gunnel Lindblom ) - Ester

- Sekstet (1963) - Elaine

- Die Lady (1964) - Nadine

- Regreso de las cenizas (1965, Director: J. Lee Thompson ) (con Maximilian Schell , Samantha Eggar ) - Dr. Michele 'Mischa' Wolf

- La guerre est finie (1966, Director: Alain - Resnais ) (con Yves Montand ) - Marianne

- Juegos nocturnos (1966) - Irene

- Domani non siamo più qui (1967) - Gioia

- Vargtimmen / La hora del lobo (1968, Director: Ingmar Bergman ) (con Max von Sydow ) - Veronica Vogler

- Calda e ... infedele (1968) - Camila

- Badarna (1968) - Cocinero

- Adelaida (1968) - Elisabeth Hermann

- OK Yevtushenko (1968) - Chica Nando

- Riten / The Rite (1969, telefilm, director: - Ingmar Bergman ) (con Ingmar Bergman y Gunnar Björnstrand ) - Thea Winkelmann

- La caduta degli dei (1969, Director:Luchino.

-La corta notte delle bambole di vetro (1971, Director: Aldo Lado ) (con Jean Sorel , Mario Adorf , Barbara Bach - Jessica

- NP il segreto (1971) - esposa de NP

Viskningar och rop / Gritos y susurros (1972, Director: Ingmar Bergman ) (con Liv Ullmann , Harriet Andersson ) - Karin

- La sainte famille (1973) - Maria

- En handfull kärlek (1974, Director: Vilgot Sjöman ) - Inez Crona

- Monismanien 1995 (1975) - Personundersökare

- La Cage [ fr ] (1975, Director: Pierre Granier-Deferre ) (con Lino Ventura ) - Hélène

- Salon Kitty (1976, Director: Tinto Brass ) (con Helmut Berger ) - Kitty Kellermann

- L'Agnese va a morire (1976) - Agnese

- The Cassandra Crossing (1976, Director: George Pan Cosmatos ) (con Sophia Loren , Richard Harris , Burt Lancaster ) - Dr. Elena Stradner

- En och en (1978) - Ylva

- It Rained All Night the Day I Left (1980) Papel secundario

- Efter repetitionen / After the Rehearsal (1984, Telefilm, Director: Ingmar Bergman ) (con Erland Josephson )

- Il Giorno prima (1987, Director: Giuliano - Montaldo ) (con Ben Gazzara , Burt Lancaster , Kate Nelligan ) - Sra. Havemeyer

- Orn (1987)

- La casa de las sonrisas (1991) - Adelina (papel final de la película).

Créditos: Tomado de Wikipedia

https://en.wikipedia.org/wiki/Ingrid_Thulin

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

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Smultronstället (AKA Wild Strawberries) | Ingmar Bergman | 1957

Gunnar Sjöberg, Gunnel Broström, Björn Bjelfvenstam, Bibi Andersson, Victor Sjöström, Folke Sundquist, Ingrid Thulin

[defineessentialcinema]

Wild Strawberries

[Written on March 5th 2021]

Ingmar Bergman’s Wild Strawberries could be considered the bridge between the older and younger generations of Swedish filmmakers. This could be evident in the casting of Victor Sjöström, one of Bergman’s favourite silent film directors, in the lead of Isak Borg. With Sjöström pushing 80, the film both reads as an introspective of his film career, but also as the concerns Bergman perceives towards his legacy.

The film opens with Isak reflecting on one of his bizarre dreams: On a deserted street corner, with a handless clock peering down at him, a horse-driven carriage arrives, carrying a coffin (possibly a nod to Sjöström’s own The Phantom Carriage). The carriage topples over, and the coffin breaks open, revealing the deceased to be Isak himself. The message is clear: Isak is fearful of his impending death.

For the rest of the film, Wild Strawberries becomes something akin to a road movie. Isak travels from Stockholm to Lund with his daughter-in-law (Ingrid Thulin) to be awarded his doctorate. During the trip, Isak revisits his childhood home, picks up a trio of hitchhikers, a dysfunctional couple, and visits his elderly mother. During all of this, Isak is still haunted by increasingly judgemental dreams, festering on his deepest insecurities. The travel aspect thus functions as a vehicle for Isak to face the tensions amongst his immediate family, Sweden’s shifting cultural values, and past regrets he has buried for nearly half a century. 

Bergman handles this exploration of introspection with such grace that it’s surprising to learn that he was still in his late-30s when the film was released. It showcases that Bergman truly understood these existential topics that made him wiser beyond his years. Bergman regulars, Bibi Andersson, Gunnar Björnstrand, and the rest of the cast bring a lot of colour on-screen. Gunnar Sjöberg and Max von Sydow leave an immediate impression with the brief screen they have, while Andersson performs the dual role of “Sara” with such charisma and youthful energy. Although the dialogue can be a bit too on-the-nose, the screenplay is so structurally sound that it’s astonishing that the film can tackle these ideas in a ninety-minute runtime.

In some ways, Wild Strawberries is an end of an era for Bergman. When the next decade unfolded, Bergman’s films continued to explore these existentialist themes through a surrealist lens, albeit their conclusions are more nihilist in tone and subject matter. So in retrospect, if Bergman used Sjöström to convey a story that reflected on both their legacies, how much did Bergman’s view of this film change throughout the years?