I think I prefer Bergman's film from the 60s onwards, as I feel he became better and better as he went on. This film feels far too much like a conventional drama to really leave me thinking about it afterwards, not having the impact of the director's later, emotionally rawer dramas or tackling a philosophical subject like religion which is the centre of his best work and creates far interesting plots around them.

predictable and completely unoriginal

Damn, Harriet Andersson can play one annoying brat (the male lead leaves no impression on me). Pretty conventional work in most everything but a few photographic touches.

Not one of Bergman's best, but he starts to really come into his own around this time. His style is really on display, with some excellent photography, and his storytelling skills have really been honed. What Summer with Monika lacks in depth compared to Bergman's best, it makes up for by being a well-done romance with a couple of strong performances.

I think this one is a proof of the idea; "The films that Bergman's favourite actors/actresses in, are simply great" Harriet Andersson and of course Bergman seems much talented. An improved one compared to his early films.

Bergman, "Images," 295-6: "Harriet Andersson is one of cinema's geniuses. [...] Here is an example of her talent: The summer has ended. Harry is not at home; Monika goes on a date with a guy named Lelle. At the coffee shop he drops a coin into the jukebox. With the swinging music resounding, the camera turn to Harriet. She shifts her glance from her partner straight into the lens. Here is suddenly established, for the first time in the history of film, shameless, direct contact with the viewer."

Bergman explores young romance as a whole, from its innocent beginnings until it gets crushed under the weight of adult responsibility. If perhaps not as revelatory as Bergman's greater films, it's still a fine piece of work with compelling character studies. As expected, the photography is beautiful, especially in the middle section with all the scenes of sun-dappled lakes.

Compared to Gycklarnas afton (made the same year), this is a meager and formal film. But it's still a delight.

Bergman at his most sensual.

A really beautiful film with minor pacing problems. Bergman's eye for imagery is fully apparent throughout the film and the story deals with its subject matter quite well. The acting is quite solid and Andersson is charming even when her character acts like a whiny brat. The film could have used a bit more meat in the actual summer with Monika section but it's a minor complaint.

Bergman's romantic scenes sometimes get cheesy, but at times they are so sweet you just want to live inside of them for ever and ever. Preferably together with Harriet Andersson.

Simple and brilliant. Harriet Andersson is so charming...