Io sono curiosa

This movie caused a great sensation in 1969 because it was considered pornographic. The movie was not allowed to be shown in America. Finally, after a highly publicized court battle, the courts allowed the movie to appear and everybody went to see the movie. The movie was banned in many countries, not only in America, because is showed a man and a woman having sexual intercourse, the first time ever in a movie. However, in the actual scene, they climb a tree in a public park and have intercourse fully clothed in the branches of the tree. It takes the reader's imagination to understand what they are really doing. The content is so mild by today's standards that the movie is largely forgotten. However, it was because of the court precedent set by "I Am Curious (Yellow)" that we are allowed to see almost everything today. Sam Sloan

Forget the hype about the nudity and censorship. Forget that it's at the least an experimental film with minimal impression. Focus instead on Ms. Nyman's performance. It's tour de force.

When she's interviewing by-standers documentary style, she shines. When she's knee deep in anger and destroying sets, she's believable. When she's literally exposing all of herself for the sex scenes, she never holds back. In short, she's the ONLY reason I watched this film to its completion.

I liked that this film is a film within a film. Otherwise, it serves no purpose. Sorry, folks; I calls 'em as I sees 'em.

It is not the bad art film I expected. In fact, it left me with the impression that lots of people could relate to it these days (the question of obesity is treated interestingly even if it is only in an impressionist way). The politics are not that bad either - but someone brought up in a conservative environment may think it's strange or dated. It is not also the `socialist' film I thought it would be also. It ends with a crew member singing `freedom is not easy'. I kept thinking that this is the main idea of the film: freedom is not anarchy. Freedom is a situation in which you can do what you want to do if the other with whom you are expressing it wants the same freedom. If not, then problems arise. As for the claims of being pornographic, I don't get it. If seeing people naked is bad - while killing people in wars is ok - then I really do not get it. At the individual level, the film is more about the struggles of a young woman discovering moral freedom. She tries to express it with free sex but finds herself enmeshed in jealousy at the same time. An interesting movie that merits, at least for me, its cult status.

I am Curious (Yellow) (a film, in near Seussical rhyme, is said right at the start to be available in two versions, Yellow and Blue) was one of those big art-house hits that first was a major sensation in Sweden then a big scandal/cause-celebre in the United States when the one print was held by customs and it went all the way to the Supreme Court. What's potent in the picture today is not so much what might offend by way of what's revealed in the sex or nudity- the director/"actor" Vilgot Sjoman films the various scenes in such a way that there is an abundance of flesh and genitalia and the occasional graphic bit but it's always more-so an intellectual expression than very lust-like- but the daring of the attempt at a pure 'metafilm' while at the same time making a true statement on the state of affairs in Sweden. Who knew such things in a generally peaceful country (i.e. usually neutral in foreign affairs and wars) could be so heated-up politically? At least, that's part of Sjoman's aim here.

Like a filmmaker such as Dusan Makavajev with some of his works like W.R. (if not as surreal and deranged) or to a slightly lesser extent Bertolucci, Sjoman is out to mix politics and sex (mostly politics and social strata) around in the midst of also making it a comment on embodying a character in a film. The two characters, Lena and Borje, have a hot-cold relationship in the story of the film, where Lena is a "curious" socialist-wannabe who demonstrates in the street for nonviolence and 'trains' sort of in a cabin in the woods to become a fully functioning one, while at the same time maybe too curious about her car salesman boyfriend. And as this is going on, which is by itself enough for one movie, Sjoman inserts himself and his crew from time to time as they are making this story on film (there's even a great bit midway through where, as if at a rock concert, title cards fill in during a break in shooting who the crew are, negating having to use end credits!) Then with this there's a whole other dynamic as Sjoman gives an actual performance, not just a "hey, I'm the director playing the director" bit.

At first, one might not get this structure and that I am Curious (Yellow) is just a film where Lena is a documentary interviewer asking subjects about their thoughts on class, socialism, Spain and Franco, and once in a while we see Lena's father or Bjore. But Sjoman does something interesting: the structure is so slippery as the viewer one has to stay on toes; it's impressive that so many years on a picture can surprise with not being afraid to mix dramatic narrative, documentary, film-within-a-film, and even a serious interview with Martin Luther King, who also acts as a quasi-guru for Lena. It might not always be completely coherent analysis politically, but it doesn't feel cheating or even with much of a satirical agenda like in a Godard picture; the satire Sjoman is after is akin to a Godard but on a whole other wavelength. His anarchy is playful but not completely loaded with semantics or tricks that could put off the less initiated viewer.

If I Am Curious (Yellow) stands up as an intellectual enterprise and a full-blown trip into exploring sex in a manner that was and is captivating for how much is shown and how comfortable it all seems to be for the actors, it isn't entirely successful, I think, as an emotional experience. Where Bergman had it down to a T with making a purely emotional film with deconstruction tendencies, Sjoman is more apt at connecting with specific ideas while not actually directing always very well when it comes time to do big or subtle scenes with the actors. Occasionally it works if only for the actors, Lena Nyman (mostly spectacular here in a performance that asks of her to make an ambitious but confused kid into someone sympathetic and vulnerable even) and Borje Ahlstedt (a great realistic counterpoint to the volatile Lena), but some 40 years later its hard to completely connect with everything that happens in the inner-film of Lena and Borje since (perhaps intentionally) Sjoman fills it up with clichés (Borje has a girlfriend and kid, will he leave her, how will Lena reconcile her father) and a heavy-handed narration from his starlet of sorts.

And yet, for whatever faults Sjoman may have, ironically considering he means it to be a comment on itself, I Am Curious (Yellow) holds up beautifully as an artistic experiment in testing the waters of what could be done in Swedish cinema, or testing what couldn't be and bending it for provocative and comedic usage. I'd even go as far as to say it's influential, and has probably been copied or imitated in more ways than one due to it being such a cult phenomenon at its time (a specific technique used, with the film rewinding towards the end, is echoed in poorer usage in Funny Games), and should be seen by anyone looking into getting into avant-garde or meta-film-making. If it's not quite as outstanding an artistic leap as W.R. or Last Tango, it's close behind.

In the sixties, the Swedish films were known to be the most sexually graphic, but this is the one that really rocked the world… It was shocking in its uninhibited portrayal of sex and in its fulminating piece of social democracy… It was a significant step forward in getting the adult film shown in the theaters…

The film comes in two editions, blue and yellow… The blue version focuses more on the political issues and the yellow concentrates on the emergence of sexual liberation…

The lead character is a young Swedish girl who attempts to hold fast to her philosophy of nonviolence, free love, and democratic socialism... But the realities of her life force her to adopt new and unrestrained ideologies…

Strangely enough, in Sweden, it was criticized more for its left-wing attitudes than for its audacious display of sex