Crise

I'm not a big fan of Bergman's directorial style but his "Wild Strawberries" I adore with all my heart which was a good enough reason for me to get acquainted with his filmography more closely. After watching a couple of uninteresting and weird movies of his I was beginning to lose hope and that's when I decided to dive into his early stuff and start with his debut body of work. 1946's "Crisis" shows only a hint of a future genius of Ingmar as a great playwright and a director. And precisely his remarkable script makes you want to stick with the movie for a while. It tells a story of fallen angels with their demons inside and how just one person can influence so many lives, make them do the things they don't want to do, lie and deceive and remain a human being after all. "Crisis" is a dark and psychological drama where there isn't any character you can really relate to or sympathize with but the plot and its characters will lead you to the ending with your mouth open. This is a good movie that stood the test of time and even 70 years later looks fresh, a bit too theatrical at times but this is Bergman we are talking about.

In a small town in the countryside of Sweden, the piano teacher Ingeborg (Dagny Lind) has been raising her foster daughter Nelly (Inga Landgré) for eighteen years with a simple life, but full of love. Ingeborg's tenant Ulf (Allan Bohlin) is in love with Nelly, but the spoiled girl despises him since she considers Ulf too old for her. On the weekend of the local ball, Nelly's biological mother Jenny (Marianne Löfgren) arrives in town with the intention of bringing Nelly to the big city to work with her in her beauty shop. In the ball, the naive Nelly feels attracted by Jack (Stig Olin), but she does not guess that he is Jenny's lowlife lover. Nelly decides to travel with Jenny to improve her future where she learns how tough life can be.

"Kris" is certainly dated in 2010, but it is still a great directorial debut of Ingmar Bergman. The dark and melodramatic story has a confused message of ingratitude – Why couldn't Nelly travel to the big city to learn a profession and earn money and still write to her beloved Ingeborg and visit her every now and then? Or Why the thirty and something year-old Ulf would be the best husband for Nelly if she does not love him? But this is a 1946 movie made immediately after-war when the values of the society would be different from the present days. My vote is eight.

Title (Brazil): "Crise" ("Crisis")

I guess it is forgivable for a first film to be maudlin, with cardboard characters and silly dialogue. This is the story of a young woman who decides to get out of town because there is no future there. She lives with her dying stepmother, her real mother leaving her behind for 18 years. She just kind of flits through things because she has pretty much been adored. She is impetuous. I haven't seen such a tear jerking woman as her loving stepmother, maybe Mrs. March in little women. She goes to be a hair stylist and gets hooked up with some bad ones, including a wolfish playboy. Meanwhile some big lunk with a silly name, Ulfe, carries a torch for her. In fairness, it has lots of very good shots and is pretty polished for a first film. It's just a bit dull and silly and very predictable.

Ingeborg (Dagny Lind) is a small-town piano teacher who raises her foster daughter, Nelly (Inga Landgré), into young adulthood. When Nelly is eighteen, she is shocked by the arrival of Jenny, her mother, whom she calls "Auntie." Jenny wants to take her to the big city and teach her to be a beautician in her salon. This is devastating news for Ingeborg, who is ill and does not expect to live long. Ulf, the stolid 30ish man in love with Nelly, begs her to stay; but she is not in love with him, considering him much too old. Instead, she is attracted to Jack, a new arrival in town. She doesn't guess that this strange young man with the striped suit and dashing mustache is her mother's lover as well.

Ingmar Bergman, making his directorial debut working with his own script adapted from a play by Leck Fischer, presents a lovely story that begins light and grows darker. Although he gets some beautifully composed shots from his cinematographer, Gösta Roosling, the movie is not put together in a particularly exciting or interesting way. His most impressive work is with his actors, who bring out all the shades of their multifaceted characters.

Those Shakespearean characterizations are what strike me the most. I don't know if they come from Fischer or Bergman. We see Jack (Stig Olin) as a dangerous lover, mischievous young man, laughable weakling, brooding intellectual and manipulative seducer. Jenny (Marianne Löfgren) appears as a selfish intruder, silly airhead, vain older woman and compassionate mother. 400 years after Shakespeare and over 60 years after this movie, we still don't often see characters like these.

The narrator at the beginning of this film mentions it's a comedy, and while the film which follows is hardly that, maybe he's referring to the laughable choices we sometimes make in life when young, because that's what this crisis seems to be about. It's either that or the crisis Bergman himself was facing as a struggling first-time director. Anyway, in the film, a young woman has been raised to the age of 18 in a small town by her adoptive mother, and is being courted by her mother's lodger, who while annoying, boring, and older, at least seems like a decent guy who cares for her. Enter her birth mother, who wants to take her to Stockholm to work in her beauty salon, as well as her birth mom's younger boyfriend, who is a creepy and disturbing lothario. The choice is thus between town/adoptive mom/nice guy, vs. city/birth mom/ladies man, and the film sets it pretty much up in those black and white terms.

One exception to that is how the film shows selfish vs. selfless love, and we find that most of it (or maybe all of it?) is at least partially the former, which was interesting. I also appreciated how the film confronts adoptive vs. birth parent rights, with the adoptive mom asserting herself, though that doesn't really develop much from there, since the young woman is old enough to make her own decisions.

Most of the scenes felt pretty generic and not all that compelling, but there were some exceptions. I loved the scene at the ball when the youth rearrange the furniture in the next room, then improvise some modern music and dance wildly, to the consternation of the older folks trying to listen to an opera singer. There is also a lovely scene when the adoptive mom is lying sleepless on a train, and remembering moments from the past. Bergman also gets a little zinger in on men when a woman in the beauty parlor quotes Catherine the Great as saying once you've had 10,000 men, you find that there isn't a whole lot of difference between any of them.

Unfortunately, despite solid performances from the cast, the film suffers mainly because of its script, which is melodramatic and simplistic. The craziest thing was the signature move we find that the playboy puts on women. He tells them he's killed his girlfriend, wants to turn himself into the police, and may shoot himself ... and apparently this is an approach that gets them into bed. (What?) The film also suffers from a lack of clarity and a wandering in tone, complete with an oddly jaunty soundtrack in places, and the young director is to blame for this. He himself commented in 1973 that "If someone had asked me to film the phone book, then I would have done it. The result might have been slightly better. I knew nothing, couldn't do anything, and felt like a crazy cat in a yarn harness," and the result was the studio sending in Victor Sjöström to help supervise him through the chaos. As Bergman idolized the man, that must have been very tough for him. Despite all of this, the film is not awful or anything, but it is decidedly average, and for Bergman completists only.