Elvira Madigan

I had the pleasure, and good fortune to see this film on the big screen. It exemplifies classic beauty, one is reminded of Renoir paintings. The film uses landscape to reveal inner emotions, a rarity these days. The structure reveals the final outcome in the beginning, leaving us with is an examination of a process so lovingly portrayed by Widerberg, a process so perfectly focused -- a delicate, lyrical love story -- quite an achievement.

Breathtakingly beautiful photography & music help to make this movie the finest love story I've seen. It's based on a true story that took place in 1859, although the movie is set at a somewhat later date. It's hard to imagine that these two young people, so full of life & love for each other, would choose the option they did to resolve their problems, but part of what this movie shows us is the inability of these two "upper class" individuals (Lt. Sparre is a Count, an aristocrat, & Elvira is a world famous circus performer who is mentioned in newspaper articles & a book) to cope with life once it has beeen altered beyond what they have been accustomed to deal with. If you choose not to read the subtitles, you'll still enjoy the movie for its visual beauty & the terrific music by Mozart & Vivaldi. Ironically, the drawing Elvira pawns for pennies is by Henri Toulouse-Lautrec!!

As did a previous reviewer, I too saw this movie in 1967 in an "art house" theater in Boston, and have been affected and haunted by it ever since. The beauty of a film with spare dialogue, fabulous and touching cinematography, and an indelibly imprinted sound track, entered my young adult brain and took up residence. Who knew that many years later, I would spend time in both Denmark and Sweden, visiting the places where the couple spent time on Tåsinge and in Svendborg, as well as the places where it was filmed in Nordjylland, and feeling as if I had been there before, even down to the sounds of the buzzing insects in the meadows and beach grass. Such films should touch more people. I am glad it is out on DVD, although I have only seen it on VHS. Suspend your computer and 3D expectations, and revel in the feelings.

(This is NOT a spoiler coming up--it pops up before the opening credits). This takes place in Sweden in 1859. A Swedish army lieutenant named Sixten Sparre (Thommy Berggren) runs away with a famous tightrope walker Hedwig "Elvira" Madigan (Pia Degermark). They committed suicide in a forest in Denmark. This is their story. We meet them when they're already on the run. He abandoned a wife, two kids and his job. They're madly in love but have to keep on the run. They want to live away from society but find that suicide is the only possible way to be together forever.

I've wanted to see this for years. The only time I saw it was on TV ages ago. It was dubbed with a terrible print and so faded that it appeared the film was in black and white! I finally got the Korean DVD and it is GORGEOUS! The color is bright and strong and the cinematography takes your breath away. Seriously--I've seen hundreds of films and this has got to be the most beautiful ever. There's music by Mozart, the couple are both attractive people (Degermark especially is stunning). There's not much of a story but the scenery is so gorgeous you won't care. This also has a brief sex scene with no nudity but it still is very erotic. Also one sequence stands out--they have a fight and Sixten apologizes by floating an apology down a stream to her. I gotta admit--that scene got to me:) This has no rating but would easily get by with a G today.

This is a film for romantics only! Some people (mostly guys) will probably find it corny and/or boring but others (like me) will love it. This was a big hit with teenagers back in 1967 but seems to have faded away. Too bad - it's incredibly beautiful. Recommended highly!

One of the simple pleasures of life is to sit in a darkened theater and have a film capture your soul, not as a single person, but as the whole sigh of the room. I saw this in 1967 in Boston, in a makeshift theater. This was at the height of the flower revolution, when Boston was the intellect of the emerging 'counter' culture.

This film found a hungry audience -- we and it fed each other. At the same time down the road were Hollywood projects on (what we though was) the same notion: passion before everything, and the purer the passion the clearer the beauty. Life matters less than living. 'Bonnie and Clyde,' and 'The Graduate' seemed slick and pale in comparison then and more so now.

For decades, I recalled many of the images:

-- the raspberries and cream (which she bought by selling her image)

-- her luminescence, her dainty vomit, the fish in her skirt, the attentive query about eggs

-- the fainting when she is discovered by innocence (which we ourselves did at the very beginning through the same child's eyes)

-- 'There are times when you don't question the cost'

and of course:

-- the release of the butterfly, and the reluctance of the filmmaker to let us release the image.

This film succeeds because it is so simple, but its simplicity is not accidental. The notion of equating Elvira with the music by bringing the musicians into the story shows extraordinary skill. I can think of no other case where a classic piece of music is renamed because of a film.

At the time, I recall great discussion of the book Sixten carried around. Like Hamlet's book, it 'mattered,' but I have forgotten its importance. I remember much in the underground press about the self-referential nature: the passion and beauty of the characters and so with the film: the simple commitment to no plan of both: and the accepting of the consequences by both for meditative obsession.

But another of the simple pleasures of life is to live long enough to see two of ourselves: the recalled initial engagement with the film and the current one. I wish this pleasure on all of you. Oh how we have all changed. (I strongly suspect that no person who was not there will find any traction with this film, but perhaps others like it.)

And watching this now, I discover I'm more of an 'In the Mood for Love' kind of guy. Same ethic. Same commitment to enter the unknown. But the passion if stronger is more diffuse and less selfish. I recommend seeing both films. Let me know.