Eine schwedische Liebesgeschichte

There's something about this film that hits you - something between the frames and apart from what you see. Even though it's almost 40 years old it feels like it was shot yesterday (especially with the crisp DVD I saw). Having watched a few of these Swedish teenage films, I have to say nobody knows how to portray adolescence on screen like the Swedes do. There's a subtle, real-life touch that no filmmaker in the states can hold a candle to.

The two leads are very natural and engaging. Ann-Sofie Kylin has the biggest blue eyes you will ever see and makes a huge impact - despite the fact that her lines throughout the film barely register one paragraph.

If you can appreciate a slow film that pays more attention to the small details than to a chugging storyline, this is for you. While I found the ending a little unresolved even for a typical unresolved "70's" ending, it's worth the two hour viewing.

This is a great little film, describing two teenagers first love experience. It really hits the spot, showing Sweden as it was in the 1970s, complete with dull apartments, the very tough moped gang and, of course, the summer party in the country house. Above all, it shows the joy and agony of teenagers being in love. It´s very easy to relate to the attraction that Per and Annika feels for each other and their shy, clumsy efforts to get together. Anyone who has been a teenager, and most of us have, is reminded of those wonderful years. This is how it really was!

This film, as I see it, is a slightly absurd view of the world through the selective gaze of two young persons in love. Although this film is far more realistic that the later films by Roy Andersson, it still has an absurd feeling, especially in the final part, but also before. But as a young person this was, at least for me, the way the surrounding appeared to be. You saw things, heard things, people cried and did things for reasons which you did not fully grasped or cared about. The unhealthiness of your family and every-day had become like a too well-known background noise which you only got aware of later in life. Therefore, all the partially touched-upon subjects in this film which never are fully resolved or explained are a strength not a weakness, I think.

The film is also political. The class society in welfare Sweden is shown. It is not the upper-class vs. servant class, but rather it is the "quest" for prestige of the every-day among working and middle class that is portrayed, and always in a subtle but critical tone. But all this is through the selective gaze of the two young persons in love, hence never is the film becoming dogmatic in its political sense.

A very good film, also with a beautiful photo. As a portrait of society this film is excellent. And please, don't confuse it with Ingmar Bergman's films. They are good in some respects, but this one is more "Swedish" than Bergman ever gets.

Holy Moly! Watching this movie was like a little nostalgia trip even if you're not from Sweden. The photography is delightful and the film has a very naturally flowing pace giving you the feeling that you've really stepped backwards in time! I thought that the acting was also very modern. I couldn't completely relate to the 'humour', which is very subtle and a bit alien to me but it also didn't get in the way or take away from the main theme threading the film. While watching the main plot unfold - the story of first love between two adolescents - the social climate of that time in Sweden is very strongly conveyed in a continuous backdrop of this film. I got the impression that this movie was really 20 years ahead of its time all round. If the exact same film had been made now (almost, if not impossible, me thinks) it would still be a great success. Maximum Respect!

This is not really a teenager-movie, although some would describe it as such. The main story is about two teenagers falling in love, correct, but that is only the shell. The story inside the shell is the one of the parents with their lost dreams and locked positions. The imagery is truly beautiful(the famous Serojoska-scene stands out) and the film also features Björn Isfält`s first venture into composing for the movies. Den Vackre and The Bertil Theme are particularly beautiful. Sadly this film, Roy Anderssons in my opinion finest one, is not available on video.