how to forget

Zoe 2022-03-24 09:03:19

An alcoholic and rude father, a toiled and rude mother, and hordes of younger siblings who make noise all day long. Such a family makes the girl Monika have the idea of ​​fleeing very early. She met Harry, who she thought could be entrusted to her life, and the two eloped in a boat, spending the summer days and nights on the deserted island shore in a humble cabin and sleeping bag. When the summer is over, Monika is pregnant, and after being caught stealing meat, they are fortunate enough to escape quickly, and they have no other way but to return to the real world. On the rickety waterway, monika exclaimed, "Why are some people always lucky and some never?"

This seems to be the question everyone has or has ever had, "Why?" The arrangement of fate is unbalanced, but in the end most people just go down the river and hold it unwillingly. Monika is not one of the majority. She is not willing to be an ordinary housewife who is a husband and a child. She wants Harry's strong love, a good-looking new coat, and a movie to go shopping. However, Harry was engrossed in his studies and work and had no time to take care of Monika's mother and daughter. In the end, the neglected Monika enjoyed the thrill of cheating with different men, until she was caught by Harry. She put on a beautiful coat and left chicly alone.

If such a monika appeared in reality, it would definitely be a negative teaching material that was criticized by Aunt Bo. However, under the director's lens, Monika is no longer a deviant and deviant girl, but a real and brave woman full of youthful vigor. In the afterglow of the setting sun, she was running on the reef, naked, looking back suddenly, looking at the boy she loved, smiling sweetly. At the end of the film, Harry saw this scene in the mirror, holding monika and his daughter, as if from a lifetime.

Maybe there should be a period of monika in life, not afraid of gossip, desperate, persistent pursuit of desire. Even if it is only a very short summer, it is so extremely crazy and romantic.

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Extended Reading
  • Susanna 2022-04-24 07:01:22

    Meet Bergman. Using an extremely neat script to tell a rebellious juvenile romance, there is a tension in the form and content itself. The editing format is basically one after another, a fairly economical way. Events in small scenes follow one after another, and the scene transitions immediately after the drama is over. It is both comprehensible and overwhelming. Bergman seems to be in this kind of step-by-step drama. The germ of modernity is found in prescriptiveness. The amazing thing is that this kind of movement becomes quite natural after the two eloped on the island. Those sound and scene liberate the perception of form, and at the same time herald a limitation: only here they feel free. Bergman is both classic and modern, and like the last three old men in the bar re-emerging, he uses characters to judge the entire film, making this story of rebellion into some kind of sobering fable. It's no coincidence that Monica is regarded as a screen girl who inspired the new wave generation. The modern part of the film was "extracted" by this group of fans. The direct-looking shot was supposed to be a hook to remind the plot, but it changed. Became a symbol of modernity, repeated again and again in Truffaut and Godard.

  • Concepcion 2022-04-22 07:01:48

    A couples version of Wilderness Survival, and more profound. Youth, love, family, abandonment, still exudes Bergman's melancholy temperament, and the 21-year-old director's lover Anderson even created a precedent for actors to look at the camera. The only regret is that if it is a color film, the lens of the large-scale dreamy seascape will be more beautiful and romantic. 7.3

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.