L'éternel mirage

Was only introduced to Ingmar Bergman seven years ago and very quickly he landed on my list of best and most influential directors. He did have occasional disappointments here and there (a vast majority of directors did/do), such as 'All Those Women' and 'The Serpent's Egg'. But he was great once he found his style, and quite a lot of his films are masterpieces such as 'The Seventh Seal', 'Fanny and Alexander', 'Wild Strawberries', 'Cries and Whispers', 'Persona' and 'The Virgin Spring'.

His third film 'A Ship to India' as director, following on from 'Crisis' and 'It Rains on Our Love', is a long way from being one of the master's best. Then again this was very early on in his career and when he was still finding his style properly. For such early Bergman however, 'A Ship to India' is a very interesting film and one can see signs of his distinctive style and themes already, it is also a not bad at all one. Actually thought it was quite well done on the whole.

As always for a Bergman film, there is some very nice photography (though this aspect has certainly been done better and more inspired in later Bergman films). Likewise with good use of very atmospheric locations. Bergman's direction became more refined and instinctive later on, then again it is early days, but one can definitely see a lot of promise here. The script s thoughtful, having the tension and emotion necessary.

The story is unmistakable Bergman in terms of themes and the tensions between the characters are believable. Emotionally it didn't feel cold. The acting is very strong from a chillingly cruel Holger Lowenadler and Birger Malmsten portrays a character worth relating to.

For all those good things, the uneven character writing also works against 'A Ship to India'. It is agreed that motivations are hard to buy, due to them being introduced suddenly without much warning and contradicting anything sad before. There were things crying out for explanation left hanging in the air.

On the most part the photography is fine but parts are a bit on the drab side. Some of the intensity wavers later on, with a few dreary moments.

Summarising, interesting and well done but Bergman is not at his best here. 7/10

I was shocked when Bergman called his first film, Crisis, "lousy through and through". But, this time I might agree. Melodramatic might be an appropriate adjective for this film. The directing and the screenplay work in opposite directions. If the directing is perhaps accentuating Bergman's fear concerning his relationship with his father, it is forgetting the romance into making it a lame melodrama.

Again, A Ship to India, Bergman's third film has some interesting ideas and proves his technical abilities. However, this time, due to the essence of Martin Söderhjelm, his formalist ideas (camera angles, lighting, dissolve) works against him.

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.

Alexander's a terrible parent, his attitude completely aberrant, treats Alice a slave, gallivants misbehaves, believes Sally can make him content (he's never come to terms with his son's affliction).

Alice's dream has been shattered, the cottage and pension in tatters, her husbands' new hopes, leave her on the ropes, their love, devotion, all but scattered (treated like a second class person and casually discarded).

Sally reached for the hand proffered, escaping surrounds she'd been coffered, didn't reckon on Johannes, or her saviour's menace, has to live with the choice going forward (who wouldn't latch onto something that can pull them from the depths).

Johannes back from seven years, at sea to wash away all the tears, finds Sally alone, isolated and prone, sets his sail to remember past fears (afflicted from birth, both physically and psychologically).

Exploring past events between a son and his toxic father, the events leading up to the son's departure and the love he left behind under challenging circumstances. Sincere and great performances in a truly engaging tale.

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.