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It could have become a French film, presumably a comedy, a frivolous nocturne in which the woman accepted their dual disadvantage and cooing placed in the booth for forbidden toys. But now it is a Swedish film, a Scandinavian film. And that makes all the difference. Bibbi Andersson's young woman is torn between her boyfriend and her new lover, the older married man. The boyfriend, Per Myrberg, has a futile role as a demanding, over-loving and unsafe puppy. Max Von Sydow is powerful to behold as usual. Bibi Andersson was in an accumulation of great performances these days. A loop that ended with "Persona" in 1966. The film itself is a bagatelle. Yet filled with passion, style, analytical images and artistic transitions. A railway compartment is a very good venue in this case. Ingmar Bergman is clearly brooding on Vilgot Sjömans right shoulder. Vilgot is under the influence of the great director.