IMDb-BEWERTUNG
7,1/10
3645
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuTwo violinists playing in the same orchestra fall in love and get married, but they can't get along.Two violinists playing in the same orchestra fall in love and get married, but they can't get along.Two violinists playing in the same orchestra fall in love and get married, but they can't get along.
Staffan Axelsson
- Lasse som treåring
- (Nicht genannt)
Ingmar Bergman
- Väntande man på BB (1)
- (Nicht genannt)
Astrid Bodin
- Gäst på Martas födelsedagsfest (1)
- (Nicht genannt)
Tor Borong
- Väntande man på BB (2)
- (Nicht genannt)
Ernst Brunman
- Konserthusets dörrvakt
- (Nicht genannt)
Allan Ekelund
- Vigselförrättaren
- (Nicht genannt)
Eva Fritz-Nilsson
- Lisa som treåring
- (Nicht genannt)
Agda Helin
- Sjuksköterska (1)
- (Nicht genannt)
Svea Holm
- Nybliven mor på BB (1)
- (Nicht genannt)
Berit Holmström
- Lisa - Martas och Stigs flicka
- (Nicht genannt)
Svea Holst
- Sjuksköterska (2)
- (Nicht genannt)
Maud Hyttenberg
- Expedit i leksaksaffären
- (Nicht genannt)
Empfohlene Bewertungen
Somewhat one-sided and sometimes melodramatic portrait of a doomed marriage, this still has it share of lovely moments, not least of which is the on-screen performance of great classical music by the orchestra that both protagonists are part of.
While their romance starts sweetly, Stig rapidly turns into a hateful character, his failure to reach stardom as a solo musician translated into taking out his frustrations on his sweet wife, and coldly having an affair to counter his feelings of impotence and self-loathing.
While an interesting portrait of an artist's own ambition standing in the way of being better at their craft (it's Stig's need for approval and outward success that doesn't allow him to really thrown himself, body and soul into his music – or his marriage), Marta his wife just comes off as too perfect a martyr.
There are moments where the acting is very strong, and some of the photography is lovely, but the film just feels a bit like the character of Stig – too self-conscious and too sure about who is right and wrong. Still, there are lots of hints of Bergman's genius to come, and it's well worth seeing for those.
While their romance starts sweetly, Stig rapidly turns into a hateful character, his failure to reach stardom as a solo musician translated into taking out his frustrations on his sweet wife, and coldly having an affair to counter his feelings of impotence and self-loathing.
While an interesting portrait of an artist's own ambition standing in the way of being better at their craft (it's Stig's need for approval and outward success that doesn't allow him to really thrown himself, body and soul into his music – or his marriage), Marta his wife just comes off as too perfect a martyr.
There are moments where the acting is very strong, and some of the photography is lovely, but the film just feels a bit like the character of Stig – too self-conscious and too sure about who is right and wrong. Still, there are lots of hints of Bergman's genius to come, and it's well worth seeing for those.
Ingmar Bergman has rapidly become one of my favourite and most admired directors. He did go on to better things than To Joy and his other early films, but a lot of promise can be seen here. The characters are not as dimensional or compelling in their realism, like in the best of Bergman's films, Marta can be seen as too perfect and Stig is not an easy person to like at all. However, the acting is very good. Stig Olin and Maj-Brit Nilsson give strong performances but Victor Sjostrom gives the best performance. As ever with Bergman, To Joy is superbly directed, while the script is thoughtful and the film itself is beautifully shot. The story is intriguing and paced well, and there are some good themes that are well done they were written even more compellingly in Bergman's later films. The music is amazing and utilised beautifully. Overall, one of the better Bergman films if not among his better overall ones. 8/10 Bethany Cox
Ingmar Bergman's seventh film, To Joy, is actually a fairly bitter film, more often than not, in looking at the destructiveness of a marriage between two people who somehow got stuck with each other to fall in love. And yet there are some moments that are quite joyful, or at least in the terms that Bergman will allow from time to time, and they help ring this as less a total work of despair than an examination of 'average' people who can't stand not having more. Stig (Stig Olin) and Marta (Maj-Britt Nilsson) meet as they're both musicians in an orchestra conducted by Sönderby (Victor Sjostrom).
She's the only woman in the orchestra, but it's not exactly that they have love at first sight in the slightest. Their connection grows following a party where Stig gets drunk and makes a depressing grandstanding fool of himself in front of friends, and somehow his downbeat manner is charming to Marta. Soon they grow closer, even fall in love perhaps, though their future marriage is complicated by Marta becoming pregnant. This scene, when she reveals it three months on to Stig, is the first real crack in the relationship. It only cracks more, with the occasional patch-up, and the question stands more or less- as Stig is looking back on the relationship following his wife and one of his child's deaths- is what could have come from all of this?
Bergman deals with his characters, at this stage in his career, in trying to just find the simple and really not very simple truths of what Stig and Marta are together and separate. For the first half it almost looks like Stig is a bit too two-dimensional, particularly for a Bergman film (and Olin doesn't play him extremely well, even if he does deliver the beats fairly well, perhaps in line with his own character's inadequacies). He can't seem to enjoy anything that he does because he always wants more, to be a supreme soloist, than to have what he already has gotten. Marta, on the other hand, after having several potential men before going with Stig, tries her best to cope with having two kids that she probably wasn't totally thrilled to have in the first place.
There's a great little scene where Sanderby recounts walking in on Stig and Marta after having some kind of odd tender moment (as well as later on after having a quarrel), without them noticing Sanderby walk in, and the expression still underneath their faces when he formally walks in. In typical Bergman fashion we see the disintegration of a relationship (quite a brutal argument in bed really, more of emotional violence than physical), even if the sort of 'patching-up' period towards the end is a little weaker than what's come before.
So on the one hand there is this aspect, the drama of two people having a constant push-and-pull tie that binds them through Stig's delusions of grandeur and self-pity and fear manifesting in other forms (notably into the arms of another woman) and Marta's own semi-helplessness, which is very good, if imperfect, as classic Bergman storytelling. On the other hand it's also one of the best examples of classical music being used as incidental music: there's not exact musical score like if we hear music accompanying the characters giving the emotional cues during an argument scene or when Sanderby offers advice or gets irritated at Stig, but rather the music of Sanderby's orchestra (and Sjostrom, I might add, is pitch-perfect in the role of the weathered and brilliant second-banana conductor) fills in the spaces at times of the emotional context.
Probably the most successful, and joyful, scene is when Stig finds out Marta has the baby, by running out quick during a rehearsal, the music going along as he's on the phone, then continuing as he sits back down, and as Sanderby asks quietly of one musician who asks another to another to Stig what happened, as the music plays on. This, plus the second greatest cinematic interpretation of Beethoven's 9th symphony 4th movement in a climax (the first being Clockwork Orange), make To Joy worth seeing all by itself, if only for Beethoven fans.
As one of the several films included on the recently released Eclipse DVD series, To Joy will appeal to fans of Bergman's knack at telling of characters in shattered, honest romance, and to those looking for some classical music bliss and have seen The Magic Flute or Autumn Sonata too many times.
She's the only woman in the orchestra, but it's not exactly that they have love at first sight in the slightest. Their connection grows following a party where Stig gets drunk and makes a depressing grandstanding fool of himself in front of friends, and somehow his downbeat manner is charming to Marta. Soon they grow closer, even fall in love perhaps, though their future marriage is complicated by Marta becoming pregnant. This scene, when she reveals it three months on to Stig, is the first real crack in the relationship. It only cracks more, with the occasional patch-up, and the question stands more or less- as Stig is looking back on the relationship following his wife and one of his child's deaths- is what could have come from all of this?
Bergman deals with his characters, at this stage in his career, in trying to just find the simple and really not very simple truths of what Stig and Marta are together and separate. For the first half it almost looks like Stig is a bit too two-dimensional, particularly for a Bergman film (and Olin doesn't play him extremely well, even if he does deliver the beats fairly well, perhaps in line with his own character's inadequacies). He can't seem to enjoy anything that he does because he always wants more, to be a supreme soloist, than to have what he already has gotten. Marta, on the other hand, after having several potential men before going with Stig, tries her best to cope with having two kids that she probably wasn't totally thrilled to have in the first place.
There's a great little scene where Sanderby recounts walking in on Stig and Marta after having some kind of odd tender moment (as well as later on after having a quarrel), without them noticing Sanderby walk in, and the expression still underneath their faces when he formally walks in. In typical Bergman fashion we see the disintegration of a relationship (quite a brutal argument in bed really, more of emotional violence than physical), even if the sort of 'patching-up' period towards the end is a little weaker than what's come before.
So on the one hand there is this aspect, the drama of two people having a constant push-and-pull tie that binds them through Stig's delusions of grandeur and self-pity and fear manifesting in other forms (notably into the arms of another woman) and Marta's own semi-helplessness, which is very good, if imperfect, as classic Bergman storytelling. On the other hand it's also one of the best examples of classical music being used as incidental music: there's not exact musical score like if we hear music accompanying the characters giving the emotional cues during an argument scene or when Sanderby offers advice or gets irritated at Stig, but rather the music of Sanderby's orchestra (and Sjostrom, I might add, is pitch-perfect in the role of the weathered and brilliant second-banana conductor) fills in the spaces at times of the emotional context.
Probably the most successful, and joyful, scene is when Stig finds out Marta has the baby, by running out quick during a rehearsal, the music going along as he's on the phone, then continuing as he sits back down, and as Sanderby asks quietly of one musician who asks another to another to Stig what happened, as the music plays on. This, plus the second greatest cinematic interpretation of Beethoven's 9th symphony 4th movement in a climax (the first being Clockwork Orange), make To Joy worth seeing all by itself, if only for Beethoven fans.
As one of the several films included on the recently released Eclipse DVD series, To Joy will appeal to fans of Bergman's knack at telling of characters in shattered, honest romance, and to those looking for some classical music bliss and have seen The Magic Flute or Autumn Sonata too many times.
This is my favourite film. It is perceptive, gentle, full of deep human understanding. Inspirational, running the whole gamut of the human condition, leaving one sad, but also feeling and understanding what true joy really is. Sublime.
The "Joy" part, by the way, refers to Beethoven's "Ode to Joy" from the Ninth Symphony. It pops up twice, once near the beginning and the other time at the end. It's hard to figure out where this film is aiming. The leading man is unpleasant in every way. He is completely self-centered, self-involved and pessimistic. His wife on the other hand is everything good he is not. And yet the film doesn't necessarily follow through on her character. There are some big payoffs though. It's always a joy (pun intended) to see Victor Sjostrom on screen. He would appear later in Bergman's "Wild Strawberries", again as an old man. This time he's an orchestral conductor who gets to know the two young protagonists over the years. They are both musicians. The husband is chasing after fame on stage and the film makes his lack of real talent painfully obvious. The musical excerpts are quite extraordinary. What you see is actually what you hear! Hollywood could pick up on something here - big time. Again, Sjostrom's job as conductor is impeccable. A lot of work went into this. The symmetry is also wonderful with the last images matching the first. And after all, the "Ode to Joy" doesn't arrive until the end of Beethoven's last symphony
Curtis Stotlar
Curtis Stotlar
Wusstest du schon
- WissenswertesOne of four Ingmar Bergman films never released theatrically in the US, although it did appear in America on videotape in 1984, and on Blu-ray in 2018
- VerbindungenFeatured in Victor Sjöström - ett porträtt av Gösta Werner (1981)
- SoundtracksSYMPHONY NO 9, OP. 125 ('AN DIE FREUDE')
Music by Ludwig van Beethoven
Top-Auswahl
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Details
Box Office
- Weltweiter Bruttoertrag
- 5.135 $
- Laufzeit
- 1 Std. 38 Min.(98 min)
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.37 : 1
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