#georg funkquist

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"För att inte tala om alla dessa kvinnor" (1964) - Ingmar Bergman

Films I've watched in 2025 (9/?)

Previous photo-sets I've made for this film: 1, 2

[old-hollywood-smash-or-pass]

OP who would YOU smash who are your Hollywood picks?

Ooooh! SOOOO many, dear anon! (Why do you think I started this blog? 😉)

Let me give you a small - well, I say small... - cross-section:

Row 1: Leslie Howard, my forever fave; Jimmy Stewart; as you can probably tell from the profile picture and header of this blog, I have a thing for Gene Kelly; I always say that the ultimate bisexual experience is watching "High Society" and not knowing whether you fancy Grace Kelly or Bing Crosby (that voice!) more, so there they both are; and to finish out the first row we have the gorgeous Jane Russell.

Row 2: Starting off with the dangerously flirty Robert Hardy; following it up with the four great hellraisers Richard Burton; Peter O'Toole; Richard Harris and Oliver Reed; and a woman who's starred with all four, Vanessa Redgrave.

Row 3: Sid James, the man with the filthiest laugh in films; the delicious Ava Gardner; the "Sound of Music" couple that wasn't to be Christopher Plummer and Eleanor Parker; the divine Alain Delon; and another great Frenchman, Serge Gainsbourg.

Row 4: The Swedish row: Harriet Andersson; the brilliant director Ingmar Bergman, this man's understanding of women is truly remarkable; Max von Sydow; Georg Funkquist, one of Sweden's great character actors; Jarl Kulle my beloved; Eva Dahlbeck.

Row 5: The Norwegian row: Anne-Lise Tangstad; Rolf Søder, the man with a laugh that nearly rivals Sid James's; Per Sunderland who has a voice that does things to me; Knut Wigert who is one of the most sensual men I've ever come across; Arne Aas; Ingerid Vardund.

Row 6: Jack Nicholson, he always had it never lost it; Ann-Margret; Robert Redford, I saw him in "The Great Gatsby" when I was 12 and that was it; Alan Bates, we love a bisexual king!; David Hemmings; Anna Quayle.

Thank you for such a fun question!

💖

[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.  

[ozu-teapot]

Sommarlek (Summer Interlude) | Ingmar Bergman | 1951

Georg Funkquist, Maj-Britt Nilsson

[ingmar-bergman-was-sexy]

"Farbror" ("Uncle") Erland (Georg Funkquist) and Marie (Maj-Britt Nilsson) in "Sommarlek" (1951, I. Bergman).

[moviemosaics]

Summer Interlude

directed by Ingmar Bergman, 1951

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Summer Interlude (Sommarlek) (Illicit Interlude) (1951) Ingmar Bergman

April 30th 2022

[ingmar-bergman-was-sexy]

Re-watched this again today, and it still makes me laugh so hard every time. One of the funniest films I've ever seen!

För att inte tala om alla dessa kvinnor [All These Women] (1964)

Dir. Ingmar Bergman

[frankenpagie]

4.10.19

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"Anna Lans" (1943) - Rune Carlsten

Films I've watched in 2024 (60/95)

[ingmar-bergman-was-sexy]

Just watched this, and I haven't laughed so much since... well, since I first watched "Sommarnattens leende" (I. Bergman, 1955) earlier this year, I suppose.

Absolutely loved it.

It's also visually stunning! 😍

Films Watched in 2018:

100.  För att inte tala om alla dessa kvinnor/All These Women (1964) - Dir. Ingmar Bergman

[byneddiedingo]

Maj-Britt Nilsson in Summer Interlude (Ingmar Bergman, 1951) Cast: Maj-Britt Nilsson, Birger Malmsten, Alf Kjellin, Annalisa Ericson, Georg Funkquist, Stig Olin, Mimi Pollak, Renée Björling, Gunnar Olsson. Screenplay: Ingmar Bergman, Herbert Grevenius. Cinematography: Gunnar Fischer. Production design: Nils Svenwall. Film editing: Oscar Rosander. Music: Erik Nordgren. Maj-Britt Nilsson gives a stunning performance as the ballerina haunted by death -- both the literal death of the young man with whom she once had the titular summer interlude and the slow death of her career, which depends on the youthful vitality she can feel beginning to slip away. Like Ingmar Bergman's earlier To Joy (1950), which starred Nilsson and many of the same actors, it's a fable about art and life, about the conflict of the public persona of a career with the personal needs of an intimate relationship. Unlike To Joy, in which Nilsson's character is subordinate to that of her musician husband, Bergman has shifted the focus to the woman -- a focus that he would maintain for most of his remaining career. Summer Interlude may be his first great film, and Nilsson's ability to move from the winsome young Marie -- sometimes evoking the young Audrey Hepburn -- to the toughened, successful prima ballerina is remarkable. Perhaps the most startling moment comes when the older Marie removes her stage makeup, which has the effect of making her look older and harder, to reveal the remaining traces of the younger woman -- a fine reversal of the usual film trope of removing the makeup to reveal the effects of aging. 

[ozu-teapot]

Sommarlek (Summer Interlude) | Ingmar Bergman | 1951

[ingmar-bergman-was-sexy]

Jarl Kulle in "För att inte tala om alla dessa kvinnor" (1964, I. Bergman)

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Woman Without a Face (Kvinna utan ansikte) (1947) Gustaf Molander

February 10th 2022