Noites de Circo

I first, and probably, last saw this wonderful film over 40 years ago. It has not been easy to catch again and then I think that when the time since you have last seen a favourite gets too long you begin to have concerns as to whether it will live up to your memory of it. There was particular concern here because, although in the 60s and 70s I would bore people by going on about this film whenever talk of Bergman's more well thought of films came up, this was never considered to be one of his best. Having just watched it again I am blown away all over again. I cannot believe how much of the fantastic visuals I remembered and the extent to which the power of the film is still so affecting. There is not a wasted frame, this is pure cinema throughout. The acting is stupendous, the cinematography outstanding and the bitter sweet tale so seemingly simple, yet so devastatingly all consuming. I know Bergman has made more poetic films and more profound ones but I still think this one is hard to beat for so eloquently presenting those basic issues that matter to everyone.

While traveling in caravan through the country of Sweden, one member of the decadent Alberti Circus tells the owner and ringmaster Albert Johansson (Åke Grönberg) a sad story about the clown Frost (Anders Ek): seven years ago, his wife Alma (Gudrun Brost) was surprised by him bathing naked in a lake with a regiment. When the circus arrives in the town where Albert's wife Agda (Annika Tretow) and sons live, he decides to pay a visit with his young mistress Anne (Harriet Andersson) to a famous local troupe to borrow some capes, hats and vests for their tonight show. They are humiliated by the director Mr. Sjuberg (Gunnar Björnstrand), but he lends the pieces, and the lead actor Frans (Hasse Ekman) gives an unsuccessful pass on Anne. When Albert decides to visit Agda, the jealous Anne meets Frans, who seduces her with an apparently valuable necklace, and they have a love affair. Anne finds that the necklace is actually worthless and returns to the circus. Meanwhile, Agda refuses to accept Albert back and he sees Anne leaving the theater and going to the jewelry. During the exhibition, Albert and Anne are submitted to humiliations by Frans.

"Gycklarnas Afton" is a dark and unpleasant story of the cruelty of mankind, where losers, desperate people without any perspective in life, are humiliated by the cruel human beings, reaching the lowest human condition. The clown Frost and his decadent wife Alma; the aging and tired owner of the circus trying reconciliation with his former wife to have a stable life; the mistress Anne trying to find another man to support her; all of them stuck together in a decadent circus due to the lack of perspective in life and courage of committing suicide. The cinematography in black and white is amazingly beautiful, and the introduction sequence, with the caravan moving in the dawn, is very similar to Brazilian classic "O Cangaceiro" (http://www.imdb.com/title/tt0045595/), of the same year. Harriet Andersson is extremely sexy and gorgeous in the role of Anne. My vote is eight.

Title (Brazil): "Noites de Circo" ("Nights of Circus")

It's undoubtedly true, as has been pointed out in a newsgroup review, that the characters in this film are not particularly likable. I have never been able to understand why that should necessarily work against a film's worth or effectiveness, though. Profound darkness seems to me an integral part of Bergman's work, at least the earlier films like this one. If you're looking for action, adventure, or romance, you're certainly barking up the wrong tree here, and the idea of identifying with the characters in this film scares the hell out of me. Maybe it's just not suited to some viewer's personalities.

You're not likely to come across `Sawdust and Tinsel' much these days, unless it's at an art-house, museum or festival screening, or on video. Here in the U.S., Public Television used to show Bergman films in the distant past. That time is long gone, but I can well remember seeing it on TV as a kid, and its imagery lingered in my mind like a vivid nightmare. The black and white cinematography, with wonderful use of darkness and silhouettes, makes it a very beautiful-looking film, but it is unrelentingly dark and gloomy.

Not for everybody, but it is what it is, and Bergman is Bergman. Its dream-like imagery and brutal, primal view of human nature can leave a deep impression, especially on impressionable viewers. This is undoubtedly why having seen it when growing up, I've never forgotten it. Though it doesn't seem to be particularly well-regarded these days, I regard it as great and powerful cinema in the Bergman/Nykvist tradition. At the very least, its cinematography should be well-appreciated by anyone who admires the look of films like `The Virgin Spring, ` or `The Silence.'

It's amazing when a film is disliked and misunderstood when released, and is then praised and labelled as a masterpiece decades later. Ingmar Bergman's 'Sawdust and Tinsel' is one of those films. I'm not exactly sure why the film was regarded so lowly, but thankfully, it is now recognised for what it is.

The film isn't quite Bergman's best, but it is certainly close. 'Sawdust and Tinsel' is a pessimistic, yet truthful study of human nature in relationships. The film's central character, Albert, is a ringmaster of a travelling circus, and is passing through the town where his wife and children are living. The pair have been separated for some time and are clearly dealing with the situation in different ways. His wife Agda has moved on. Albert is still affected and has been unfaithful to his wife, as he is travelling along with his mistress. What unfolds is an interesting character study that looks at human insecurity, disloyalty, selfishness, unhappiness and emotional strain.

It's no wonder that Ingmar Bergman is titled 'The Swedish Master'. 'Sawdust and Tinsel' is full of insight and certainly shows Bergman's talent. He does some excellent things with mirrors in certain shots and creates a lot of mood throughout the film. The highlight is, without question, one of the first scenes in which Frost, the circus clown, comes to collect his wife Alma from the ocean, where she is swimming with an army regiment. Every element works and Alma's selfishness and Frost's pain are clear in the scene, adding to the effect. Practically everything that Bergman has done in this film is excellent. The only point of criticism though, is that the cinematography is a bit hit and miss, as some scenes are too bright, giving them an overexposed look. Then again, it could be that the film has just deteriorated with age.

This is an under-appreciated film that is certainly worth viewing. It is quite hard to come by, but maybe one day, someone will do a proper release on DVD.

Poor old Frost performs as a circus clown, carrying a heavily burdened scowl and quite a frown, since his wife went to sea, for the army all to see, ridiculed without makeup or a gown.

Poor Albert is the big circus ringmaster, the performances are all a disaster, the takings are low, he know wants to go, but his wife won't have him back to harass her.

Anne travels as Albert's companion, but theatre Frans has set his sights on, getting her to perform, with a pendant to charm, but the lustre is shallow and a con.

Albert hears of Anne's closed candid meeting, in the circus ring Frans' smugly seating, there follows a brawl, the ringmaster does fall, the cuckold takes another shameful beating.

The humiliation of three tortured souls of the circus, as their dignity is stripped like flesh from a freshly slaughtered carcass.