Summer Interlude

At times the hand of the writer is a little too obviously present, but this is a fascinating record of the development of Bergman's style, themes and artistry. The final quarter hour contains a revelatory beauty that lifts the whole onto another plane.

Bergman finally moves away from outright melodrama! Yay!! The balance of life and nature -- each joy with its downfall, each bliss with its agony, each loss with its gain -- is displayed with a finesse and poignancy lacking in most of Bergman's earlier works.

Not always intensively interesting, and not overwhelmingly touching, but it's quality stuff from a director trying to convey something personal and genuine.

Not as intense as late Bergman films, yet it's still like reading a novel.

A woman in her late-20s plays a teenager who is wooed by a man around 30, who is playing someone of an undetermined age, while her drunk uncle certainly in his fifties (who is a friend of the family) continually tries to woo her. Sorry, it is not the SNL Drunk Uncle character. Also, there is an animated sequence for reasons only Bergman could explain.

The days always feel stronger after they're gone, for better and for worse. Certain elements of this first love romance might seem quaint or naive in anybody else's hands, but here Bergman is truly budding: that distinct affliction of melancholia, a fascination with theater and role play, stark photographic representations of seclusion, countryside idylls. Perhaps it doesn't reach the heights of sophistication his later works often attained, but this simplicity is beautiful.

Bergman's early career is hit or miss. Summer Interlude is more miss than hit, but not without redeeming qualities. At its core it's a very typical tragic romance, without much depth or insight. But you can see the nascent Bergman themes flowering here and there, and the photography is quite good, especially during the dance scenes. I'm not sure what to make of the bizarre bit of animation... the poor judgement of a young director, I suppose.

Youth, trauma, courage in the face of unavoidable entropy, and how life makes sense only in the warmth of real connections. Beautiful, tender, melancholic, and humane all the way.

An average "early Bergman" film. To be honest, after watching "Hamnstad", "Skepp Till Indialand" etc. it felt a bit repeating.

This film got me where it wanted. Thank You Mr. Bergman for another beautiful experience.

Alarm bells go off for me whenever Bergman shifts into flashback mode, as he does here, because it's always about regret and that's monotonous as is the fact that seemingly all interactions in a Bergman film are super-saturated with meaning (it's suffocating). This is not to say that I disagree with Bergman's messages, but rather I question his means. But enough with the negativity about this film; everything that takes at the dance theatre (on and off stage) is very much to my liking.

I regret not watching this earlier, because Summer Interlude appears to be the first of Bergman's movies to turn a corner and enter territory we've all come to associate him with. Like all of his great movies, it has an internal power and pull that draws you in and gets you lost in the way you might get lost in a good book. Very human and lovely, especially the last 25 minutes. On love: "You feel it in the chest and stomach. Your knees are like crushed apples, and your toes crumple up."

Jean-Luc Godard called this "the most beautiful of all films" and that description is more or less accurate. It is especially true of the visuals, which shine with the sort of passionate intensity of Bergman's best work. A film about how memories fail us, how love fails us, how happiness could disappear in a matter of moments.

The film is beautifully shot and the acting is solid bu the film just didn't do anything for me.

birbirine asik iki ciftin yaz macerasi... hayaller ve hayatin getirdikleri herkesin istedigi gibi olmayabiliyor. filmin amaci kisinin olumsuz duygulardan korunmak icin hayatini duvarlarla orerek bir trajediyi bilinaltina attigini, bunun da kisiyi hayattan soyutladigi ve surekli tetik halinde birakarak hayattan zevk almasini engelledigini gostermek gibi geldi. bu cozumleme ani ve hazirliksiz oldu sanki. bazi yerler de sıkıcı geldi

Lovely. Birger Malmsten is especially good. Pauline Kael: "Bergman found his style in this film, and it is regarded by cinema historians [...] as the beginning of 'a new, great epoch in Swedish films.' Many of the themes (whatever one thinks of them) that Bergman later expanded are here: [...] the faces that have become masks, the mirrors that reflect death at work. But this movie, with its rapturous yet ruined love affair, also has a lighter side: an elegiac grace and sweetness."

88.50

87.000

The premise is comparable to to joy, but it’s better executed

Mês especial do centenário de Ingmar Bergman filme #2 O anti-Red Shoes bergmaniano.

A little too slow and nothing particularly memorable.

I'm getting the feeling that Bergman likes Ozu

A little underwhelming, but there's a clear, personal and genuine touch to the characters and narrative. Still, Bergman delves into themes and emotions that are relevant 50 years later. It's psychologically exhausting to reminisce on summer memories amidst autumn blues.

Thank you, Ingmar Bergman for blessing me with such fine piece of art. Everything from the death scene and on is pure perfection. This movie moves from almost melodramatic romantic banalities to fine-tuned psychological and philosophical depths. It's beautiful without being Nyqvist, innovative, evocative and though provoking.

Perhaps the Scandinavian surroundings feel too ordinary for a Scandinavian like me, to really be mesmerized by it's beauty. But then again, the beauty people speak of is perhaps more about the simple and personal beauty of these intimate moments that are shared. The broken, vulnerable, happy and sad bits as this ballerina becomes an adult and learns life really is meaningless...

Bergman finally gets it right as a director. A beautifully balanced (well, beautiful in general) mix of young infatuation, nostalgia and theatre, but above all handled so incredibly deftly by Bergman the director. There's a rhythm to the movie and a warmth lacking from many of his later films, a wave-like givething and takething away that just builds without needing any melodramatic plot twists.