Monika e o Desejo

He wasn't always the old glum maestro. Although the young lovers in "Summer with Monika" might have fitted quite easily into a British Kitchen Sink film, this early Bergman is less grim than we later came to expect and although minor, this film has much to admire; it actually reminded me a bit of "A Kind of Loving".

A young Harriet Andersson is Monika and Lars Ekborg is Harry, the boy who loves her enough to want to spend a lot longer than just the summer with her. You might say that for Bergman this is a very simple picture filled with very simple people but Bergman treats them with a fair degree of sympathy. Monika may be just a little tart or simply a young woman trapped in an early marriage while Harry is always seen as trying to do the decent thing and the ending, if not exactly upbeat, is less of a Bergman downer than usual. No masterpiece, then, but an essential part of the canon nevertheless.

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.

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.

Sommaren med Monika, often translated as Monika, the Story of a Bad Girl, but directly it is Summer with Monika, I prefer the latter. Summer with Monika is Ingmar Bergman's early masterful classic. It's European modernism and as many of Bergman's films of that era, this film too dealt with social issues. Even that Ingmar Bergman himself was from a bourgeois family, Summer with Monika builds around the working class. It's a story about two youngsters who fall in love and start living a life of their own.

Monika is a minor girl who doesn't get along with her parents. Her only escape from the harsh family life is romantic cinema and her boyfriend, Harry. In result of the distressing life Monika and Harry escape the city to archipelago for the summer. When the summer's over and they come back, the love between them starts to fade.

I have yet not seen as strong film about young parenthood as this. It shows the truth in a very realistic light, Bergman doesn't add any glamor to its characters' lives, which he never does. This is the social theme of Summer with Monika, young parenthood and the subject is still very current, which makes the film timeless. No director of today has succeed in making as good description of the life like that.

Summer with Monika is so beautifully made that it delights you. The plot also has some points that delight the audience, but I was mostly touched by the beauty of the narrative and cinematography. Both of these are clearly European modernism in Summer with Monika. The camera goes behind the reality, it shows the true emotions of the characters. A very impressive scene of the film is when Monika watches directly to the camera. This shocking destruction of the fourth wall and the illusion of cinema, was probably the first one ever made. My information of this is not accurate or reliable, but at least Summer with Monika was one of the first ones, that did this.

A very powerful film of love, youth, parenthood, frustration and life.

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.