Sommaren med Monika

It is a very sensitive and solid story about love and loss. It fascinates you from the beginning, first of all because of the beauty of the images and then by the credibility of the characters. There's also plenty of small human details which together make a whole masterpiece (The moment that Monika turns and stares to the camera is one of them). Strangely enough, this movie is never mentioned among the best made by Bergman. But it is a great movie.

Ingmar Bergman's Monika (Summer with Monika) (1953) is the story of two Stockholm teenagers, stock boy Harry (Lars Ekborg) and voluptuous, impulsive Monika (Harriet Andersson), who meet and fall in love and run away for a summer on a motorboat on the Stockholm archipelago escaping from work and all responsibility. Monika becomes pregnant and they return to the city and marry – but things turn bad. This first powerful feature by the Swedish master is simple and sweet but nonetheless rich in emotional wrenching events. The film, which depicts teenage unwed sex, was shockingly sensual for its time. In 2006 the intensity of Harriet Andersson's uninhibited performance is still impressive and this story is just as heartbreaking as it was over half a century ago.

Presented as part of the Janus Films sidebar of the 2006 New York Film Festival at Lincoln Center in another gorgeous pristine-looking new print with a rich black and white tonal range that may look better than the original did.

Nouvelle vague from Skandinavia. It is one of those films in Bergman's oeuvre which hasn't completely lost the hope for the good and love yet and from that period, Sommaren med Monika is probably his most impressive work. The film is an ode to the vitality and joie de vivre of the youth, about it's rebellion and breaking out, exploring and checking and therefore, compared to Bergman's sixties, a pretty hopeful take on life. For the first half at least, until the couple is confronted with reality after a few days of liberation and from now on, they have to suffer the loss of their courage, spirit of adventure, the faith in each other and consequently the loss of their young love. The wonderful time with Monika does not remain - the only thing everyone can bank on.

It's remarkable, now from a perspective of more than 50 years ahead, how this film is (also) a homage to Harriet Andersson. At that time, there hardly was a similarly fresh, natural and at the same time sublime appearance in Europe's auteur cinema. With every shot, Bergman and cinematographer Gunnar Fischer capture her beauty and lightness perfectly. In one of the earliest nude scenes of European cinema they underline her innocent naturalness and love for nature, a naturalism in acting which is Andersson's strength when you think of the death scene in Cries and Whispers or the madness of Karin in Through a Glass Darkly. Her face, her entire guise stands, next to Liv Ullmann's, Bibi Andersson's or Ingrid Thulin's, for more than half a decade of superb Swedish cinema history.

A sad tale of two lovers who meet in a high emotional state and break up because the lady, Monika becomes bored with the relationship. About the highs and lows of love. Very beautiful in depicting the relationship between Harry and Monika. Its easy to sympathize with Harry because no matter how hard he tries to make Monika happy he always seems to fail. It was during the filming of this movie that Ingmar Bergman left his wife for the actress, Harriet Andersson(an act which he would regret and influence him for the rest of his career). This act would greatly influence Wild Strawberries(1957), Persona(1966), The Touch(1971), Cries & Whispers(1972), and would inspire the Liv Ullman film, Faithless. The director delivers a film of powerful emotions and raw feelings. Harriet Andersson is magnificent as the title character. Sommaren Med Monika/Monika(1953) is the first of many great motion pictures for the legendary filmmaker and visual poet, Ingmar Bergman.

Monika feels trapped, in despair, her future is bleak and laid bare, she needs to break free, escape, run and flee, with a boy who is willing to care.

Harry is a boy that can care, spends his days wishing he was elsewhere, now he's met a nice girl, and they're off for a whirl, a summer like no other can compare.

To love, through a long hot summer, without a care or a bother, just to be in the arms of each other, to smother, enrapture and cover - what could possibly go wrong! Monika and Harry find the inevitable fork in the road, where habit and repetition branch from joy and satisfaction, and sacrifice will not recompense or suffice, at least for one.

Contains that look that says it all.