En enda natt

Ingrid Bergman is definitely the best actress in this traditional story about the meeting of the working class and the upper class. Gustaf Molander was always good at making upper-class dramas that never made anybody angry.

Carnival worker Valdemar Moreaux strikes a compelling figure in his militaristic uniform. Colonel Magnus von Brede is a little annoyed that the carnival had set up on his land without permission, but he's more intrigued with Moreaux. He later realizes that Moreaux in uniform looks like his military father in a portrait. He is sure that Moreaux is his son. He's also the guardian of his niece Eva Beckman (Ingrid Bergman).

Ingrid Bergman is only a supporting actor in this Swedish film. Apparently, it's in exchange for the lead in another film. She would head out for Hollywood after this. She does have her regal beauty. I guess that this is showing the two different classes. Maybe it is trying to use nature vs nurture as a way to define the classes. It's an idea although I don't know if it's a story. At least, I'm not that taken with this story. I don't like one romantic attempt here. Some people are just getting in their own way.

Miss Bergman plays an aristocratic liberated woman, who rides horses like a man, shoots ducks with a shotgun, is about to receive a PhD in something related to government history, and has plans for a career in government, possibly election. Eva has no interest in marriage or men. Now comes Vladimir, a free spirit with no roots, five years in the foreign legion, and currently working in a traveling carnival. Through an unlikely chain of events, they become engaged. In Sweden in the 1930's, engagements were expected to last for a year so the couple could get to know each other well. Free-spirited Vladimir takes a broad view of this custom leading to the climactic scene. Miss Bergman's performance here is great, and this scene all by itself is worth the price of admission.

This is Gustaf Molander's specialty - the study of classes and he does it again here. A careful study of an illegitimate son who has grown up in the circus but later learns his father is a rich wealthy man. The father brings him in to strike a romance with Ingrid Bergman, as a way to make him respectable and usher him into high society. The issues of class as he tries to adjust to his new society while trying to abandon the old are carefully handled and shown without emphasis but with subtlety. Accceptance is tough all around and lessons are learned by all. This is a melodrama done Swedish style and try and see the Ingmar Bergman influences in this movie that inspired his work and Gustaf Molander's work in general that is reflected in Ingmar's work.

This may seem a traditional melodrama but it is deceptive;none of the usual tricks are used:no tear- jerker scenes,nothing really romantic ;the case of the illegitimate son is treated in a way which often verges on comedy .For instance ,the way the aristocratic dad reveals the truth to his son takes a very long scene -and even longer if you include the scene with the servant-

The movie tends to show that even blood ties are weaker than values and traditions of the upper class.In the Bible,the Prodigal Son did belong to a wealthy family so he did not need a period of readjustment.A child of the circus living in a clown's trailer ,with a faithful partner who doesn't stand on ceremony with him,finds that his father's desirable mansion is a gilded cage and that his ward (Ingrid Bergman) is haughty even though she accepts to marry him to please her uncle:she gives free reign to her anger and her contempt when he tries to have sex with her before the wedding.We live in a compartmentalized world.