Das Lächeln einer Sommernacht

No matter how many films I see, whether they be foreign language or American or silent, early sound, or currently in theaters, I still find myself getting surprised by the content found in older films. "Smiles of a Summer Night" is a pretty edgy film, touching with great candor subject matters somewhat taboo today. And the film does this while being a complete joy to watch. This is certainly one of the great sex comedies and certain to be a good introduction to Bergman for those concerned about some of his tougher films. Besides, any Bergman fan should be proud of this film, because word has it that he had reached a crossroads, during a heavy bout with depression, before writing this film. He was either to commit suicide or write a comedy. The rest of his catalog and his canonized presence in film history shows what that decision brought us.

I have seen just about all of Bergman's available films and Smiles of a Summer Night is among my favorites. The humor derives from the situations, cleverness of the dialogue and foibles of the characters, rather than from Woody Allen-type punch lines. (Bergman has funnier lines in Seventh Seal coming from the squire in his scenes with the church painter and blacksmith). Much of the humor comes from the changeability of the characters. At one point, Jarl Kulle's character says he doesn't mind if someone has an affair with his wife, but they better not fool around with his mistress, and later on says just the opposite. Like Renoir's Rules of the Game or Carne's Children of Paradise, the ensemble cast grows on you with each viewing. Along with Wild Strawberries, a good place to start with Bergman.

In the beginning of the Twentieth Century, the successful fifty years old lawyer Fredrik Egerman (Gunnar Björnstrand) has been married for three years with his naive nineteen years old wife Anne (Ulla Jacobsson), who is still virgin. His adult son from his former marriage, Henrik (Björn Bjelvenstam), lives in celibate preparing to be a priest. Their servant is the young and futile Petra (Harriet Andersson), who easily falls in love for every man. When Frederik goes to the theater with Anne, he sees the actress and his former mistress Desiree Armfeldt (Eva Dahlbeck) and he meets her alone in her dressing room after the performance. They go to her house, Frederik falls in one puddle and she gives the robe and the pajamas of her present lover, the military Count Carl Magnus Malcolm (Jarl Kulle), who is married with Anne's friend Countess Charlotte Malcolm (Margit Carlquist). However, Malcolm unexpectedly arrives and after the unpleasant encounter of the trio, Desiree ends their relationship. On the next morning, Desiree plots a weekend in her mother's summer real state with Frederik, Anne, Henrik, Malcolm and Charlotte, with the intention of seducing Frederik again. Along the night, with the three smiles of love, four couples are formed.

"Sommarnattens Leende" is a delightful, cynical and witty romantic comedy with wonderful dialogs and situations. Showing a magnificent art direction and cinematography, this sardonic story discloses three different types of love: the pure of the youngsters, represented by Anne and Henrik; the silly and quite naive, represented by the maid Petra and the groom Frid; and the cynical and malicious of the arrogant Malcolm and Charlotte and the Machiavellian Desiree and Frederik. In the DVD, Ingmar Bergman explains the importance of this movie in his career, with the recognition of the Sweden Industry giving independence for him after the worldwide success of "Sommarnattens Leende" inclusive in Cannes Festival. My vote is eight.

Title (Brazil): "Sorrisos de Uma Noite de Amor" ("Smiles of a Night of Love")

"Smiles of a Summer Night" is one of the most elegant and charming carnal comedies ever filmed. It is clever, witty, and incredibly sexy. Did I mention that it was written and directed by The Ingmar Bergman whose name would not usually be associated with the comedies?

"Smiles of a Summer Night" was a great success with both the critics and the audiences and was submitted for the Cannes film festival…without its creator's knowledge. The film was nominated for the Golden Palm and won the Award for Best Poetic Humor. Bergman describes how he found out about his movie's international recognition, "I was sitting on the toilet reading a morning newspaper. One of the articles was entitled, The Great Victory for a Swedish Cinema at Cannes. I thought, what a wonderful news, what is the movie? And then I read the title, "Smiles of a Summer Night" by Ingmar Bergman." He recalls how poor he was then and he borrowed the money for a ticket to Cannes from Bibi Anderson whom he dated at the time.

I did not laugh a lot but I don't think I was supposed to - "Smiles... is a different kind of comedy, sensual and subtle, with the characters often weak but not ridiculous. The beauty of it is in the dialogs, ironic looks, the charming struggle of wits, and in the realization that not everyone will be blessed with the true and passionate love but the life goes on, anyway. The actresses (Ulla Jacobsson, Eva Dahlbeck, Harriet Andersson, and Margit Carlqvist) were incredibly sexy, especially Eva Dahlbeck smoking a cigar and Harriett Andersson as a chambermaid talking to her mistress about the virginity – delightful!

There are no words to describe the beauty, splendor, charm, humor, and sensuality of this film. The best I can do - to paraphrase Woody Allen's line -"that was the most fun I've ever had without sex."

Begrman's comedy's tend to leave me cold, but I was persuaded that this one would be interesting. Bergman to some extent made his name on the back of this film. Woody Allen famously based A Midsummer Night's Sex Comedy on this movie, thus coming out as a Bergman fan.

Frankly, I think Allen has more talent for comedy than Bergman, but Smiles of a Summer Night has more depth and more interesting development of ideas than the Allen follow-up.

This movie is a typical comedy of manners and the plot is of little consequence - it has a few fun moments but the interest is in the acting and the ideas. In terms of performances, Gunnar Bjornstrand and Harriet Andersson are both superb - the rest are Bergman's usual suspects, mostly of ensemble quality. Perhaps it is Bergman's weakness with comedy, but Eva Dahlbeck and Jarl Kulle (who appear frequently in his comedies) usually seem very weak to me. Bibi Andersson is in this movie, but I blinked at the appropriate moment so I missed her. Sigh.

The core ideas of the film (that love visits few of us, even fewer of us make a good fist of it, most of us live lies and/or make fools of ourselves in matters of love) are examined well and in an enjoyable way. The style of this comedy reminds me of Jean Anouilh's lighter plays, which I suppose reflects the European style of the 1950's.

Most Bergman comedies have aged disgracefully, but this one has aged gracefully and certainly has something. Worth watching.