Archive for May 27th, 2020

 © 2020 by James Clark


    There are Bergman films that seem to be like ancient frescos, disappearing the moment they encounter our atmosphere. Thanks to a few devotees, such apparitions reappear by way of streaming and deep space, allowing us to confirm that everything he touched was very important.

The film, Dreams (1955), is not only a beautifully crafted and powerfully ironic evocation; but it is at the apex of a clutch of early 1950’s filmic gems with a strange and wonderful weave about actors, names, habits, habitats and humiliation. (The concentration there would spread out into many of the factors of later Bergman films.)

A brief description of this patterning can get us underway with the specifics being buoyed by a universal frenzy, however masked. Our protagonist, Susanne, owner of an haute couture concern, first comes to us as stressed and morose, putting much use to her opera-length cigarette holder aflame and asmoke. Less than a year before, in the film, A Lesson in Love (1954), we saw another frustrated Susanne. But whereas the latest to have that name is played by actress, Eva Dahlbeck, the Susanne of A Lesson in Love is played by actress, Yvonne Lombard, while Eva Dahlbeck portrays there, “Marianne,” a flakey, violent and patrician wife to one, “David,” a patrician gynecologist, played by Gunner Bjornstrand. In Dreams, Bjornstrand portrays Otto, a multi-millionaire, who picks up one of Susanne’s models, played by Harriet Andersson, a cynical, infantile gold-digger. In A Lesson in Love, Andersson portrays “Nix,” daughter of David, far more balanced than her parents. Andersson also portrays, Monika, the eponymous protagonist in Bergman’s Summer with Monika (1953), who plays an unbalanced crocodile. Life going round and round; but going nowhere anytime soon.


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