July 27th & 28th: Summer Interlude (1951) and Summer with Monika (1953)

Screen shot 2018-07-27 at 12.31.25 PMScreen shot 2018-07-27 at 12.22.00 PM

This weekend, we will present two films that Ingmar Bergman made early in his career: Summer Interlude (1951) and Summer with Monika (1953).

On July 14, Bergman would have been 100 years old and to mark this date, several cinematheques around the world had devoted retrospectives. Janus Film, an American restoration and distribution company, released almost the complete film catalogue of the famous Swedish director. We hope in the next few months to screen some of them. In an effort to be thematic, we start with two summer movies!

Friday, July 27th at 9:05 pm; $10 admission

Summer Interlude, a film directed by Ingmar Bergman

with Maj-Britt Nilsson, Birger Malmsten & Alf Kjellin

A lonely woman remembers her first love thirteen years earlier during a brief summer vacation.

 From 1946 to 1951, Bergman worked a lot. He directed 10 films and wrote four scripts that would be shot by other directors. During this time, Bergman both technically and thematically learned his job. His professional marathon ends with Summer Interlude in 1951 of which he would say: “I had always felt technically crippled: insecure with the crew, the cameras, the sound equipment — everything; sometimes a film succeeded, but I never got what I wanted to get. But in Summer Interlude, I suddenly felt that I knew my profession.”

At the time of the theatrical release of the film, Stig Almqvist, a Swedish critic wrote: “Ingmar Bergman’s method of making a film is miraculous …. He belongs to a handful here and there in the world who are now discovering the future articulation of film, and the result can be revolutionary.”

 

Screen shot 2018-07-28 at 8.27.41 AM

Summer with Monika, a film directed by Ingmar Bergman

with Harriet Andersson, Lars Ekborg, John Harryson & Georg Skarstedt

Saturday, July 28th at 9:05 pm; $10 admission

Two teenagers meet on a summer day, start a carefree affair and leave their families to be with each other. After the summer, their relationship changes.

At the original release in America, the sensual side of actress Harriet Andersson, (who became a follower of Bergman, making a dozen films with him) scared the censors who massacred the film. It was not until 50 years after its original release that the movie came out again in its entirety. At the time of this re-release, Manohls Dargis of the New York Times summed up the qualities of the film in one sentence: “Shot in rich black and white, “Monika” shows a director in absolute control of his medium and its singular expressivity.”

 

 

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