Para Não Falar de Todas Essas Mulheres

This comedy, most notable for being Bergman's first film in color, is often considered one of his worst. I went into it with very low expectations, glad that it was just 80 minutes long. Thankfully, it's not nearly as bad as its reputation. It's minor Bergman, for sure. It's main crime is that it thinks it's much funnier than it ever is. That can be annoying, but, really, the film isn't exactly unfunny. Personally, I think Bergman only did comedy right once, with Smiles of a Summer Night, and even that one I don't think is amongst his best work. Simply put, Bergman excels at tragedy, and his comedy can feel forced. This film revolves around an art critic (Jarl Kulle, Bergman's most mugging actor) who comes to write a biography of a famous cellist at his palatial estate. The cellist (whose face never appears on screen) is a philanderer, surrounding himself with women of various ages (including Bibi Andersson, Harriet Andersson and Eva Dahlbeck). Kulle starts a fling with Bibi Andersson, and soon discovers that one of the wives or mistresses is attempting to murder the cellist. The Bergman film this reminds me most of is The Devil's Eye, which also stars Kulle (if I recall correctly, that one is slightly less comic). The color cinematography is actually quite excellent. Bergman didn't film again in color until Cries and Whispers. This is available on Hulu Plus.

I agree that "All These Women" is misunderstood, especially if you look at it in the context of Bergman's filmography. He had just completed the "Silence of God" trilogy, one of the deepest, most serious works in the history of cinema. So, cut the man some slack and allow him his lark, his goof, his chance to riff on fans and critics and the illusion of the exalted artist (himself), before returning to his true work with his next film, the universally praised "Persona."

I also think he was a little influenced by "8 1/2" which had come out the year before, appreciating Fellini's playfulness as well as his insight into the creative process and, of course, "all these women." Bergman will always be thought of as a somewhat austere and oft despairing artist, but thankfully we have several films that belie that, like "Smiles of a Summer Night," "The Magician," and this little oddball gem.

I do say this with a heavy heart as I love and admire Ingmar Bergman and many of his films and thought I'd never see a film of his I didn't like. Until now. By all means it has its good points, the cinematography, settings and music are beautiful and the female cast(with three of Sweden's finest ever actresses) look splendid and really try their best. Unfortunately, Jarl Kulle does nothing to make his annoying character remotely likable. Cornelius isn't the only bad character here though, I didn't care for any of them and none are interesting, for a Bergman film that is unusual. Bergman I love as a director, but he too seems out of his depth with a lack of momentum. The writing seems forced and unfunny, while the story tries to do much but does so in a clumsy and stilted manner.

Overall, I really wanted to love All These Women considering the talent involved, but I found it a really disappointing miscalculation.

4/10 Bethany Cox

Felix is a very happy fellow, none more so when he's fiddling with his cello, of which he has a few, perpetually in a queue, makes Cornelius a little green, although he's yellow.

It's a bit of fun, but not funny and there's little pun, plus it hasn't aged well so move on, do not dwell.

Plenty of Bergman stalwarts, including the gorgeous Bibi Andersson, the engaging Harriet Andersson and the delightful Eva Dahlbeck however, even they can't save this, as the story's as daft as a brush and it soon becomes a bit of a chore, as the end seems to extend to a point where you stop caring, and start looking for the door.

Ingmar Bergman cuts loose with this atypical homage to bedroom farce and (sometimes silent) slapstick comedy, a lark for one of the most serious filmmakers around the globe. There are fun moments, especially when Bergman breaks the fouth wall and winks at the audience ("these fireworks are not meant to be symbolic"!), but overall the film is stilted, static, and rather tiresome. The women are dazzling, but mostly wasted; despite the title, the central character is a man, and he occupies something like 90% of the running time. ** out of 4.