- Summer with Monika is remembered as being the discovery of the 21-year-old Harriet Andersson (playing Monika here).
- Like much of Bergman’s work during this era, there are sequences that feel like a nostalgic look at young love- an ode to youth- “spring is here” and passion is high. Monika and Harry (Lars Ekbord) are in love, or at least lust. This is Bergman though, so the harsh, cold realities are not far behind. There is not a direct lineage between Bergman and neorealism, but how could any ambitious auteur in this era not be at least a little influenced by the Italians? Monika and Harry hate their jobs and home life, and they are almost like lovers on the run without committing a crime (for a time at least)- sort of Badlands meets L’Atalante. Idyllic- but soon interrupted by jealousy as an ex-lover of Monika sets fire to the boat. A series of mishaps follow, and it all comes crashing down. Like the work of the Italians, there is hunger, theft (Bicycle Thieves), and even a baby crying and the realities of domestic life.
- Bergman bounces the proceeding action with intermittent shots off the sky.
- At the 87-minute mark Monika is foreground right with Harry background left. And Bergman returns to the shot at the 82-minute mark only this time it is Ekbord who stares at the camera while the background goes black, and his mind returns to that idyllic summer with the composition of Andersson on the boat repeated.
- A Highly Recommend/Must-See borderline film
Leave A Comment