love monica

Donnell 2022-03-23 09:03:04

In 1953, at the age of 35, Bergman was still a nobody, and he had not had time to establish himself as a master of philosophy and film narrative. Reviews at the time were said to be heavily critical of the film, mainly because of Monica's performance in it, which was seductive, wild, and depraved.
Bergman was influenced by Italian neorealism at the time, Monica had just been dating Harry when he warned a bad boy to report him stealing a bicycle... It is said to be an echo of De Sica (the original used "innuendo", I think "echoing" is appropriate).
The content of the film also has the shadow of neo-realism: depicting the embarrassing life of the bottom people. Because of a child, the couple's life is beyond their means. But Bergman doesn't seem to be very good at this style, and all descriptions stop at the surface. His family background and thinking make the film less realistic... maybe because life in Sweden was really good at the time. In my opinion, the young couple lived a good life. They had their own house, and only one person could work to support the family... Even men could pursue the dream of being an engineer. (Probably because we have experienced a little more suffering~~ refers to Chinese people in general)
Monica's role is also very ~~ "strange", which is both pitiful and disgusting... Godard, who was very appreciative of the film with a discerning eye back then Commentary: Harriet Anderson, with a thousand times more power and poetry, and her uneasy misty smile for the camera, makes us feel a sickness that she uses as a weapon to make hell against heaven . ——The master commented on the master, let's cherish each other.
One-third of the length of the movie is the summer when the two wandered in a boat, the scenery, wild passion, warmth, adventure... After removing the descriptive content at the beginning and the end, the wandering of the two accounted for almost half, and the title of the film should be more It's more comfortable to call it "Monica's Summer".
Watching the whole movie, when you think about the understated shots at the beginning, you will find that the arrangement of those shots has been premeditated, echoing the end of the film.
At the end of the film, Harry smiles in the mirror with the child in his arms, superimposing the happy scene of the summer with Monica... Bergman doesn't want to criticize anyone, he loves Monica too!

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Extended Reading
  • Krystal 2022-03-27 09:01:18

    The Swedish girl looks just like Ingrid Bergman's beauty, pure, healthy and sexy. So beautiful.

  • Jordi 2022-03-19 09:01:08

    [October 2019 Bergman √] It is said that Bergman successfully entered the American market...The structure is extremely rigorous, full of echoes and contrasts between the drama and the audiovisual, the performance is wonderful, and the description of the class is slightly stereotyped , But the play on the impact of the native family on people is still very precise. Monica is quite a new heroine who loves and hates. The scene of the two people wandering around the world in the second act is really good, the scenery is well used, and it is extremely strong with the first act and the third act. Contrast. In the third act, Bergman's style of mid-to-close-range relationship between "love is torturing each other", which expresses anxiety and tearing and cannot be separated, has taken shape. At the same time, there are two very exciting, close-up shots of the use of character modeling light converted into stage light (one male and female protagonist).

Summer with Monika quotes

  • Monika Eriksson: Now we can go wherever we like.

    Harry Lund: Like you said that time at the cafe: "Let's go away!" Let's forget about all those bastards.

    Monika Eriksson: I hate them. Everyone who holds us back, who wants us to grovel.

    Harry Lund: Let them scurry around like rats - - we won't be there.

  • Harry Lund: Imagine them slaving away at Forsberg's now.

    Monika Eriksson: And down in that old cellar, carrying crates around in the dust and dirt.

    Harry Lund: We've rebelled, Monika, against all of them.