L'éternel mirage

All the Bergman complexes are already here: the dysfunctional family, the tyrannical father, the struggling sex disturbances, the human decadence, the claustrophobia, the inferiority complex, it's all here bundled up in a rotten ship trying to salvage a wreck, with a few able seamen but a captain that constantly ruins everything, it's all sordid and dreadful, even the dialog is constantly strained, the emotional outbursts keep on rolling, but the whole thing is wonderfully filmed with Bergman's famous and unique sense of imagery. A failure of a captain has a hunchback for a son, whom he keeps as a slave more or less, he wants to become a seaman, but the father keeps him hard at work with dirty things, and so there is a constant conflict brewing up. The captain wants to go away and leave everything, wife and son and crew and ship, to escape with a variety girl, but she falls in love with the son, while the captain is going blind. What a mess! It's the son that ultimately goes away, but comes back after seven years to find the wrecks of his previous life and the girl, whom he imagines has been waiting for him for seven years, as he has been dreaming of her for seven years, but that romantic construction is not quite convincing. The assets of the film are the splendid photography and imagery, and a wonderful score by Erland von Koch.

I'm not a movie expert by any means but I do really enjoy noir movies from the forties and fifties and especially foreign ones. Each week I search the internet to discover a good one I haven't seen. A Ship to India certainly satisfies the noir in me. However the morals of the 3 main characters are pretty shocking for a 1947 movie. Attempted rape, adultery, drunkenness, prostitution, and infidelity on two fronts. Also attempted suicide. If this is what you like you'll enjoy if but you're a Casablanca , Silence of the Sea kind of person like me, this will be too impure. I like to feel satisfied at the end of a movie but with this one infidelity wins.

After seven years at sea, Johannes Blom (Birger Malmsten) returns to his hometown seeking out Sally (Gertrud Fridh), who is depressed and isolated in her room. Johannes recalls his life seven years ago, when he lived with his despotic and brutal father Captain Alexander Blom (Holger Löwenadler) and his abused mother Alice Blom (Anna Lindahl) in an old vessel working in salvage services. The hunchback Johannes has been rejected by his father since he was born and has survived and grown full of anger. When Alexander discovers that he will be blind in less than one year, he brings his mistress Sally to live with him on board of his ship expecting to leave Alice and travel abroad with Sally. But Johannes and Sally fall in love with each other and the hatred of Alexander for Johannes leads to the family to a tragic end.

"Skepp Till India Land" is the third film of master Ingmar Bergman with the story of a triangle of love among an abusive father, his abused son and his mistress. Captain Alexander Blom is one of the most despicable characters I have ever seen with his tyrannical and indifferent behavior regarding his wife and his own son. Alice Blom is an abused wife that has the only motivation of having a cottage and a pension of Alexander's employers in an after-war period (this is a 1947 film). Johannes is man without self-esteem or self-respect, abused since he was a child that reacts to his father's brutality when he is infatuated on Sally, an anguished and disillusioned showgirl that has no hopes or expectations with men. The result is a bitter and anguished love story. My vote is eight.

Title (Brazil): "Um Barco para a Índia" ("A Boat to India")

But it's not one of his best. The characterizations of the film's protagonists are inconsistent from scene to scene and some of them leave a viewer with many unanswered questions (like the mother's motivations.) Beyond that, the cinematography is pretty dowdy, particularly the exterior footage.

Still, it has elements that Bergman fans will recognize from his more famous films, and it contains sequences of despair and anguish that can haunt a viewer days later. Birger Malmsten, who plays the lead character Johannes and who will be seen in several later Bergman films, is immensely likable and compelling as the hunchback son who finally stands up to his despotic father. While many of the early Bergman films are uninteresting at almost every level ("Port of Call," for instance) this one is well worth a look for the hard core Bergmaniac, if you can find it.

The main characters in this story, told in flashback, are all struggling with life, and in this film Bergman give us a painful father/son relationship that probably reflects the difficulties he had with his own dad. Here the son has grown up a disappointment to his father because of a small hump on his back and a milder personality, while the middle-aged father, a bully, feels as though he's missed out on things in life and wants to run off to the south Pacific with a showgirl. His mother has suffered from abuse over the years, and her husband now wanting to leave seems especially unjust since she worked hard with him in the early days of their business salvaging old boats, which she recounts in one of the film's best scenes. The showgirl herself knows a thing about pathos too; she's been poor and turned to prostitution in the past, giving her a jaded outlook and the belief that love never lasts, so she just wants to be kept comfortable by a man.

With all of the difficult emotions in play the setup was interesting to me, and there are a few beautiful shots along the rocky Swedish coastline as well. Where the film falters is in being overly melodramatic, e.g. the father being made to be going blind on top of everything else, and the son falling for the showgirl. There is a fantastic moment of tension when the son goes diving in a suit that requires his father to manually pump air down to him, but its emotional power and some of the other angst in the film is eroded because it tries to fit so many other things in. Restraint and focus were needed so that the characters and their relationships could have more depth. Bergman was still finding his way here, but nonetheless it's interesting to watch him at this stage of his career.