• You’ll leave impressed by the young Ingrid Bergman (age 21 here) as you probably expect to be given the film’s reputation as her start—but the big takeaway from the film is Gustaf Molander’s dedication to the artistry of the frame. Specifically, there are a dozen or more frames loaded with floral arrangements. And not just sitting on a table in the background either (and that does happen)- but in frame in the foreground with the main action going on just beyond it

You’ll leave impressed by the young Ingrid Bergman (age 21 here) as you probably expect to be given the film’s reputation as her start—but the big takeaway from the film is Gustaf Molander’s dedication to the artistry of the frame. Specifically, there are a dozen or more frames loaded with floral arrangements. And not just sitting on a table in the background either (and that does happen)- but in frame in the foreground with the main action going on just beyond it

  • Again, it is the film that brought Bergman to the US—apparently David O. Selznick saw it and signed her immediately. It is not her debut though, she was in 4-5 films in her native Sweden (as this is) prior. Her talent leaps off the screen, but this isn’t one of her best performances
  • Remade in 1939 in Hollywood
  • Iris transitions
  • A morality tale about a restless musician who leaves his family (for a young talented musician herself- Ingrid) and then returns
  • Broad characterizations hurts the film—“I’m a stay at home person”- “I’m a person that must be on the go”
  • Great music (required but still nice—a film about musicians)
  • A strong scene at the bridge at 35 minutes – close-ups of Bergman—this may be the scene where Selznick made his decision
  • Again, flowers perpetually in the décor- wonderful—in his open living room, their dressing room

Again, flowers perpetually in the décor- wonderful—in his open living room, their dressing room

  • An impressive shot at 65 minutes of the two lovers through the window—the window frame in the center splitting the two- this is Renoir or Antonioni – flowers in front of course
  • The “intermezzo” metaphor is a great idea for an affair or midlife crisis—but they actually say it aloud in the film multiple times— unnecessary—hurts the film
  • Highly Recommend- top 10 of the year quality work