Älskande par

There is no doubt that the Swedish actress Mai Zetterling, in her feature-length directing debut, had Ingmar Bergman in her mind: the cast is full of Bergman veterans, the cinematography is by the emblematic Bergman collaborator Sven Nykvist, and the whole style of the movie is modelled on her famous compatriot. Technically, the imitation is accurate: the film is well-made, the acting is fine, and I liked how Zetterling contrasted three different types of women - one happy all the time, one never happy, one somewhere in between. But the stories are too long and meandering, and for a movie so heavily dependent on flashbacks (about 80% of the running time), the flashbacks themselves are not especially revealing. **1/2 out of 4.

The story of three women from different, but related, backgrounds about to give birth in a hospital in Sweden around the start of World War I.

Via inter-cut flashbacks we are shown how they ended up in their situation.

Often beautiful Sven Nykvist photo and many great directorial flourishes from director Mai Zetterling makes this a treat.

The parallels with Bergman are many. For instance, apart from Mr. Nykvist, many of the actors have appeared in various Bergman productions, the themes dealt with here are very similar to various Bergman films, and so on. Dissimilar enough to be interesting though.

Has some very interesting scenes that I would imagine were very controversial at the time, such as two gay men frolicking and getting mock-married in a church, a graphic shot of a baby's birth, some female nudity, a lesbian kiss, etc..

Both in the ambiance and in its women's themes in this movie you can see unequivocally Bergman's influences. In particular It recalls Bergman's SECRETS OF WOMEN (1952)for the cast ( It's almost the same!)and for its episodic structure. The psychological search on women universe is another important link.

Anyway, although Mai Zetterling had abused it in her movies, I think that the flashback use is very interesting in this movie. It becomes, with the editing help, a concrete tragic matter and not only a way to tell the story. I give it a 6.

A cynical view of marriage and love relationships in Sweden in 1914. In a totally patriarchal society women are left to use sex and motherhood as a form of power, which effectively gives them a substantial slice of influence but does not bring them any happiness.

If women's destiny is to seek love, as one of the characters says, we don't see it at all in this film. It is forbidden to them by the established social model.

Due to Nykvist's beautiful cinematography and a lot of excellent actors that we are used to see in Bergman's movies, this would even seem, at first glance, to be a film by this director. But, unlike Bergman, who always imprints a strong ethical sense on his stories, here we are at the opposite end of the spectrum, a complete cynicism when it comes to human and social values. This is a real world, a dog world and not a principled world.

A pleasant surprise.

It's a wonderful film although certainly a rather cynical view of marriage and love, evidently in Sweden in 1914, or maybe somewhere else and a later time. The ladies, Alda, Adela and Angela played by Harriet Anderson, Gunnel Lindalom and Gio Petre absolutely splendidly. At the beginning there are the three in the stark hospital and all each expecting a child. There are three rather different stories and we have flashbacks of them so the slow and rather sad beginning really gets going with a lot of fun and sex and surprises all the time. There is nudity and passionate scenes that it is rather surprising for the early 60s and caused a problem in many countries. The cinematography is fantastic by Sven Nykvist like the shots in the woods and with the frolicking and much drinking during the midsummer celebration and also in the fantastic pretend marriage with two gays and the sublime Anderson.