Monica e il desiderio

Ingmar Bergman's 1953 "Summer with Monika" was chopped down from 92 mins to barely over an hour and shown in America as the provocatively titled "Monika, the Story of a Bad Girl", promoted with saucy posters and even nude postcards. But cool your engines because there's nothing very sexually explicit; if Monika is indeed a "bad girl" that's because she makes some very bad, selfish & inconsiderate choices. Not exactly the "bad girl" of your dreams but more like the crazy girlfriend who ruined your life.

"Monika" (Harriet Andersson) is an 18 year old girl who dreams of escaping her impoverished life but with little foresight beyond that. Enter "Harry" (Lars Ekborg) who is also dissatisfied with his lowly station, but he has a somewhat clearer head about him. In an impulsive moment, the two run off to an island believing they can live forever in a summer of blissful denial. And thus the theme is set: how long can lovers survive "living in the moment"?

Gorgeously shot and expertly acted, this film is definitely a treat to watch. However, you may find yourself disliking, or even hating, the character Monika for the way she tramples all over everyone's life to suit herself. Although she is admirable in her fearless rebellion against conventions, she is shown to be almost childishly self-absorbed. Thus she isn't quite the classy, intriguing female protagonist of "Summer Interlude" (Bergman's film 2 years prior) but she's almost like a deliberate caricature of that character--a tantrum-throwing wild child which Bergman literally illustrates in one memorable scene as she's scurrying through the woods, dirty faced and disheveled, tearing at a piece of meat she had just stolen. Watching "Summer with Monika" back to back with "Summer Interlude" is quite an experience, and I highly recommend it to those of you who are interested in this side of Bergman.

During filming, Bergman and his leading actress Harriet Andersson were having a short but passionate affair, and critics have said that this resulted in the film being a "love letter" to Andersson. Definitely the camera is very attentive to her, and there are some fabulous shots that capture not only her impish beauty but also her cruel, darker side that's not as glamorous but every bit as engaging. But as for it being a love letter to her? I don't think so; if anything it feels more like an exposé, a poetic yet brutal ode to that "bad girl" our momma always warned us about.

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.

Summer with Monika is a very fine, sometimes masterful showcase of what would be to come with Ingmar Bergman's more notable and personal dramas. That is, in the technical side of things; here he uses a lot of shots that are simply there for the location, the imagery of the rocks and beach and waters where the characters are at. It's much more in a sense of a documentary of these two people than a usual tale of young love. But it's a good story at the core, and in it Bergman also establishes one of the actresses that would become crucial to his career.

Harriet Andersson is remarkable as the happy, though high strung and (as one in my generation might call) 'needy' Monika, who works at a vegetable stand. She meets Harry (Ekberg) in a bar one day, and the two hit it off after later seeing a movie. Monika's home life is the pits, as is Harry's work environment. So, they act on an impulse to get away for the summer to an island. Out of that comes what is very natural in a relationship- happiness, love, despair, hunger, and the oncoming (unplanned) child. The third act goes as how one might expect, but the way it's filmed and acted is still extraordinary.

Once Bergman gets his film on the water, he just shoots and shoots. Some of this may not seem to go anywhere, some of it may just seem like shots of animals and rocks. But I have a feeling Bergman was likely inspired by either painters or the neo-realists with their documentary feel. If nothing else, everything feels very much alive and real with how the characters talk and act to each other, and that doesn't lose its ground after fifty years.

Some shots here and there (one when Monika is out one night, when Harry is not at home, is intriguing on how it just stays on her, and how it's lit) are some of the more memorable ones of the 1950's for the director. I also liked how the characters were believably stuck in the middle of a very plausible dilemma- do they keep on going on with a great, bit love affair alone and off from civilization, or do they face up to what they have to do with living? It's a tragic, somewhat obvious conclusion, but the way it's told is how it scores some points.

Basically, Summer with Monika is a fresh, dark love story that may appeal to those looking for a good alternative to a film of today loaded with cynicism or delight in the shrill conventions with the characters. One may have seen characters like Monika and Harry in other films, yet they are fitting for the style of Bergman's precise bittersweet whimsy and depth.

The first half recalls Bergman's earlier 'Summer Interlude'. But the second half goes further and explores the 'what if' of the summer romance between teens; moving into parenthood, marriage, and disillusionment.

The acting is excellent, and unlike 'Summer Interlude' these actors look close to the naive age they're playing.

The film's point of view sometimes felt a bit one sided to me with 'bad girl' Monika, from a crude, poor family, less willing to extend herself than her upper-class boyfriend Harry. Of course, along with being selfish she is also the more complex and fascinating character, especially as played by the young Harriett Andersson.

Some critics make the argument – with merit – that the film doesn't judge Monika,the audience does. Indeed, it could be argued that the film is meant to make us question our own judgment of a poor girl who is brought up with dreams of marriage as a glamorous escape, and not just a humdrum existence. It's not for nothing the heroine is obsessed with Hollywood love stories.

Andersson's performance may be the first of the many hyper-real and extremely complex characters in Bergman's body of work, transcending 'type' and moral judgment.

The film was beloved by the French New wave filmmakers, who saw in it's complex attitude (and very brief nudity) a throwing off of the shackles of conventional characters and storytelling.

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.