Il pleut sur notre amour

This is a romantic and exciting feel-good movie about a lovable naive couple with a questionable background, trying to start all over together and adapt themselves to the society. The young star director Ingmar Bergman here effectively portrays typically good and bad sides of the human behaviour. The main theme returns over and over again - how do people live with their past, and how do they handle the resulting conflicts and moral dilemmas? Despite the age of this movie (released in 1946) it does not feel old fashioned in any way. Common to Bergman's movies to come, this one is way ahead of its time. The story and acting feel just as fresh as any modern movie and is a pure enjoyment to watch, without any boring or embarrassing moments.

This early Ingmar Bergman film already bears the marks of a great director with a striking sense of images - the cinematography is already here remarkable, at times touching on expressionism. It is a well written idyllic story of a young couple in trouble, he being just released from prison after a year for theft, and she being pregnant by an unknown man. They break into a small empty summer house, in which the owner of it takes them red-handed - and decides to rent it to them, so they start a life there under difficult and very basic circumstances. That's the set-up of the play, which turns in various different directions as the young couple struggle on in a cold October weather with lots of raining, and they have to endure some harassment from authorities, one of them being a very self-complacent and sanctimonious priest - a typical Bergman character, who always loved hanging out priests of double standards. It's an enjoyable film with a very appropriate score by Erland von Koch, combining dark comedy with social criticism in a perfect frame of idyllic environment - an ideal film of coziness.

Ingmar Bergman is without a doubt one of the, if not likely to be considered the best filmmaker who ever lived.

Whilst most well known for his later works, beginning in the 1950s, he also made some great films in the 40s, this one being a good example of a great commentary on contemporary society and love.

The actors all do an incredible job, and the writing is masterful - as per usual with Bergman of course.

It showcases his brilliant cinematography, cutting and editing that is very characteristic for the director, and one that would often be found later in his works.

Overall, a beautiful piece that is definitely recommended for any lover of film and fans of Bergman.

Bergman is still making his way here, with a story that revolves around the struggle to be accepted by society if one has a stain on one's past. A man meets a woman who's missed her train, and they have a fling which leads to deeper feelings. The trouble is, he's fresh out of prison, she's pregnant from some other one-night stand, and they're both broke. The fact that the man has trouble accepting the woman's pregnancy initially was an interesting touch, since he too is judged for mistakes he's made, and it's also refreshing to see the open treatment of premarital sex.

The couple seem to get a break from a guy who lets them stay in his cottage and sets him up with a job, but between those who can't accept that an ex-con can go straight or the couple living together "in sin," and those who prey on their simplicity, they have a tough go of it. The film is a condemnation of narrow-mindedness which I liked, but it gets a little heavy-handed in a courtroom scene towards the end, and in the film's final moments, as sweet as the gesture was. The leading couple (Barbro Kollberg and Birger Malmsten) make a good-looking pair and I appreciated what the film was going for, but guard your expectations.

'It rains on our love" (1946) is an early film by Ingmar Bergman. Bergman was a director who had to learn his trade so the film is worth watching , but it isn't great.

The film is about two vagabonds, a man (David played by Birger Malmsten, a regular actor in Bergman films up till 1950) and a women (Maggi played by Barbro Kollberg), that are treated roughly by society. Of course (representatives of) society do see that differently. In their view the vagabonds fail to adapt to society's norms.

Films about vagabonds always remind me of "the little tramp", the ultimate vagabond, most certainly if a stray dog is involved, as is the case in "It rains on our love". See also "A dog's life" (1918, Charlie Chaplin). Chaplin however was much more competent in finding the right mix between comedy and sentimentality than the young Bergman, and also than the mature Bergman I guess, because Bergman quit making films in this genre after a while.

The film ends with a courtroom scene, and this is one of the most memorable scenes of the film. In the beginning the two vagabonds are on trial, but when their lawyer starts his defence the roles are quickly reversed and it almost seems that society is on trial.

This lawyer (Gosta Cederlund) is a remarkable appearance in "It rains on our love". He starts as a sort of narrator / guradian angel and all of a sudden becomes a character. Most unusual!