User reviews

Ingmar Bergman making a film with characters in a daze as to what to make of their indiscretions in their affairs with men, what a surprise! Maybe there's too much sarcasm in that sentence, and perhaps for the period Bergman was working in (pre Seventh Seal) it's a little too close to a target to make. Bergman was the best at it, so it's not a knock: Dreams is another in one of his probing examinations, however in a manner that almost suggests he wasn't putting as much time and effort into the script as usual (in an interview he said he didn't consider it very highly in his oeuvre, and had some bad memories of his time with Harriet Andersson with their personal relationship, coincidentally her character has a rough break-up early in the picture). But saying that Bergman wasn't putting *as much* time and effort is suffice to say that he still makes it very intriguing, very entertaining (in that suffocating-dramatic Bergman sense where you can feel all humanity sucking out of the room and back in again with every beat in some scenes), and with a take on the sexes that allows for some probing hard to see in other movies.

We're given two women who work in the fashion photography profession, one a model (Andersson) and the other a producer/director type (Eva Dahlbeck). At the start we get right into a claustrophobic sense of unease for these girls set right by the tone of a man in the room- a fat man tapping his fingers while waiting for a shot to set up, and then once again on another one. Tension spills out in the dressing room, the engagement off between Andersson and her fiancée. Meanwhile, Dahlbeck calls her lover who can't come to the phone for long. After this Bergman starts to play a sort of trick on the viewer: what happens to these women with their respective men, is it dream or reality? Andersson's situation is that she's looking at dresses through the outside windows, and an old man (Gunnar Bjornstrand, with a nice old-man beard that isn't too shabby) offers to buy her the dress, jewelry, whatever she wants. To display the generational gap she asks for chocolate with whipped cream and- as something I thought I'd never see in a Bergman film- a rollicking trip to the amusement park to ride rollercoasters and shift through a haunted house.

This all seems to be leading to a note that suddenly becomes all the more clear, and I wondered "what gives?" if this was Bergman presenting dreams. Perhaps he means in the more fragmentary sense of "well, these women have dreams of some men, but... these aren't them". This leads to Dahlbeck's scenes which are a good, sharp contrast to Andersson's. With the latter there's some blocks where the two don't talk (she puts on a record that spins some cool jazz as the two dance a little and have a silent-movie repore with champagne), and for the former it's what some fans of the late Swedish filmmaker love more than anything: characters in personal agony over not realizing a personal connection, through lots and lots of dialog. What's impressive here isn't so much the performances per-say, which are a little cold, but how much restraint Bergman has with the camera as this situation with Dahlbeck's cold professional (she fires Andersson at one point for being late with the old man) turns into a fool-hearty tug-of-war of emotions between an equally cold wife of Dahlbeck's lover. If there is any one juicy section in Dreams, and not counting specific scenes like when Dahlbeck has her head out the window of the train (which is very beautifully executed), it's this one.

Somehow Bergman pulls out a semi-happy ending, if not without a bit of a coda as to what may happen with these still emotionally entangled souls. If only the structure somehow was worked out a little better (I'm not sure how I could criticize it more than that- even a flaw from a genius is still a genius move, if that make sense) it would be a great film. As it stands there's a lot of greatness in the film, only to feel very slightly like an excellent minor work. Still, stay tuned for little winks to the audience, like a rare Hitchcock type cameo (strange considering Bergman's opinion of the director), or a mention of the last time Bjornstrand's lonely rich old man saw a movie- 1918- which is Bergman's year of birth. 8.5/10

Ingmar Bergman's early film Dreams (1955), beautiful but sadly underrated and little known, presents the stories about two dissimilar women and their loves, and touches on all the timeless and tough realities of torment, longing, loneliness, and aging in a simple and sublime way. Everyone who ever was madly and desperately in love and for some reasons could not be with the object of their longing should appreciate this film. Speaking of making Dreams, Ingmar Bergman comments, "By this time Harriet (Andersson) and I had terminated our relationship, and we were both feeling quite sad. Our sadness weighs down the film". Bergman regulars Harriet Andersson and Eva Dahlbeck (both will play in the same year's Smiles of a Summer Night, a very successful and sparkling Bergman's comedy) portray two women, the owner of a model agency, Doris (Dahlbeck) and her top model, Susanne (Andersson). A major figure in Ingmar Bergman's films of the 1950s, Eva Dahlbeck was stunning - an elegant, poised, sophisticated classical blonde beauty with high intelligence and the talents in acting and writing.

Harriet Andersson was discovered at the age of 20 by Ingmar Bergman who made especially for her screen debut the film "Summer with Monica". Extraordinary and versatile as an actress, her roles ranged from the naive young girls with erotic charisma to the young woman losing her grip with reality in Through a glass darkly (1962) to the fearless breakthrough performance as a dying woman in Cries and Whispers. In Dreams, she is absolutely charming. Camera loved her - sexy, sweet, and innocent, she lit the screen in her every scene.

I am a great admirer of Ingmar Bergman's work, there is always many things that are interesting. Not all his work are masterpieces, but so far I have not seen a film of his that I'd class as bad. Dreams is a very good movie, one of his most underrated without being up there with his finest. Some of the contrasting themes were perhaps more confidently explored in later films and the film could have been longer, but this is all a matter of preference. It is superbly directed and beautifully made, an oft-characteristic with Bergman's films. The music is hauntingly understated, while the dialogue is written in a meaningful and thought-provoking way and the story is austere, romantic, painful and ironic and observed in a masterful way. The characters are seen as selfish but compellingly real, while the acting has nothing that would strike anybody as questionable. Harriet Anderssen ties with Liv Ullman as the best of the female performers in Bergman's films, and her performance is utterly magnetic in every way possible, quite charming and very photogenic. Eva Dahlbeck- looking very classy and stunningly elegant- and Gunnar Bjornstrand provide great support, and Bergman himself even makes a cameo. All in all, an underrated film that does deserve to be seen more. 8/10 Bethany Cox

A delightful film about the love of two women-the owner of a model agency and her top model. On a photographic outing to another city, both have strange day affairs with married men. The film, as relentless as it is tender, is a deeply probing study into the psyche of desire. Bergman's success is derived from exquisite scenes of austere romanticism and painful irony. Rarely has sexual obsession been so accurately observed. Dreams is yet another masterpiece by Bergman, yet sadly underrated and unknown. For anyone who appreciates great storytelling, and masterful filmmaking should do themselves a favor and watch "Dreams". Note: Look for Bergman's cameo as the man with the poodle at the hotel.

Susanne can't stop thinking of Henrik, overwhelming, it makes her feel sick, like a moth to a flame, a thoroughbred who's lame, no use to man nor beast while she's like this.

Doris found a sponsor for the day, if she wants something he's quite happy to pay, but the cost could be quite high, if she stayed with this old guy, who wants someone to take the loneliness away.

An eventful day in the lives of two quite different women, both belittled and humiliated for different reasons, looking for something that can't be conjured and is often fleeting. Eva Dahlbeck is always worth devouring wherever she performs and whatever she is in, and Harriet Andersson seldom puts a foot wrong whenever she's around either.

A very minor Bergman work, the film has traces of his style, especially in the first few scenes with quick edits and close-ups to draw attention to detail, as well as a well-filmed roller coaster ride. However, the screenplay does not match the quality of the directing, with basically two stories that do not gel all that well together. What the film is meant to be a study of is never clearly focused, with themes of desire as well as women's liberation both present. The middle section of the film dragged a little too, but still it is interesting to see such an early piece of work from Bergman. It is not much compared to what would later come in his career, but the film has enough interesting elements to certainly make it worth a look.

In Stockholm, the fashion photographer Susanne Frank (Eva Dahlbeck) misses her married lover Henrik Lobelius (Ulf Palme) that lives in Gothenburg with his wife and children, and the naive twenty years old model Doris (Harriet Andersson) has a troubled relationship with her boy friend Palle Palt (Sven Lindberg). Susanne schedules a session of photo shoots in Gothenburg with Doris, and once there, she calls Henrik for an encounter. Meanwhile, Doris meets an elegant middle age gentleman on the street, the Consul Otto Sönderby (Gunnar Björnstrand), who buys expensive gifts for her: a dress, a pair of Italian gloves and valuable pearl necklace. They spend the afternoon together in an amusement park and later they go to Otto's mansion, where they are interrupted by his wicked daughter Marianne (Kerstin Hedeby-Pawlo). Susanne has a love affair with Henrik in her room, but they are interrupted by his cynical wife. The incidents in these encounters affect their perspective of love.

"Kvinnodröm" is one of the minor movies of Bergman in spite of not being a bad film. The sentimental story is too dated in the present days: the naive attitude of Doris with Otto is very silly, and the situation of Susanne is typical of the 40's and 50's, with a woman "dying" of non-corresponded or impossible love. The cinematography, as usual, is amazing, and I particularly liked very much the scene with Eva Dahlbeck split between light and shadow in the train to Gothenburg. My vote is six.

Title (Brazil): "Sonhos de Mulheres" ("Dreams of Women")

I really liked this lesser-known Bergman film. More properly translated as The Dreams of Women, the film stars Eva Dahlbeck and Harriet Andersson as a photographer and her model. The two travel to a location shoot, and the story splits in two as each has their own romantic misadventure. Andersson is admired by an older, rich man (Gunnar Bjornstrand), who buys her all kinds of nice things. Eventually, she follows him back to his home where she learns of his troubles. Dahlbeck contacts a married man with whom she was having an affair (Ulf Palme), and when the two meet Palme's wife shows up to disrupt the assignation. The Dahlbeck segment is pretty typical Bergman, but, of course, it's beautifully done with some fantastic acting by Dahlbeck. I thought the Andresson/Bjornstrand segment was just wonderful. I think this might be Bjornstrand's best performance. Certainly very high up there. I also really loved Kerstin Hedeby, who plays Bjornstrand's daughter. This may feel like a small film in Bergman's career, but it's an excellent small one. The laid-back style, especially the long, wordless sequences, reminds me more of the Italian films of the period than of Bergman. This certainly would be better regarded if it were directed by Visconti or Antonioni. 9/10. YES.

This is a minor Bergman vehicle with some excellent acting, cinematography, etc. but nothing especially memorable about it to make it stand out from the crowd. The film is a story the parallels two lives--the older and more worldly photographer and her younger and more naive model. Through the course of the movie, both learn about love and relationships--particularly the older woman who learns to grown up and accept that an old relationship is over--and should be. The younger lady, in contrast, seems to be pretty much the silly girl she was at the beginning of the film. I think this is certainly meant to be a comment about age and wisdom.

While you may enjoy the film, there are certainly other Bergman films that are far more interesting, such as Wild Strawberries, The 7th Sign, Monika and Autumn Sonata, just to name a few.

Dreams begins with a photography shoot. It is the land of Dreams. We meet Doris, the model. Soon we are drawn into her world. She is engaged. Trouble is, her beau is rather straight. She has big aspirations. She wants more out of life. But she is not the only one with dreams. The photographer, Susanne, is missing her ex lover. Trouble is, he broke the relationship off because he is married. She's not about to let that stop her.

To say more would be to ruin the plot, but we soon meet other characters who also have Dreams. It seems we all do, but more often than not, we are not allowed to achieve them. And perhaps that's not always a bad thing. We seem to spend most of our lives with desires, untapped and unreachable. Bergman knows this all too well, and tortures his characters with their yearnings, desires out of step with the mechanics of day to day living. It provides excellent drama. As always Bergman keeps the struggle between man and woman as tension filled lovers foremost in the frame. There is desire but it is fraught with problems.

It's not Bergman's best film. The characters can sometimes seem selfish, but this is the point. How do we exist in the world if we cannot have what we want? It's a heartbreaking realization.

Some say Bergman is the greatest Director the world has ever seen. I'm not sure about that. Tarkovsky was a visual genius, but Bergman is certainly more intimate, his stories personal and instantly identifiable. He achieves success again with Dreams.

Ingmar Bergman's 1955 film KVINNODRÖM ("Women's Dreams", released in the English-speaking world as simply "Dreams") has two interwoven plots that each involve a woman coming face to face with her aspirations to love and romance and being disappointed. Susanne (Eva Dahlbeck) runs an agency for fashion models in Stockholm, but she is distracted from work by an obsession with a married man (played by Ulf Palme) whose mistress she once was. Though the affair has been cut off, Susanne continues to stalk him. Meanwhile, one her models, Doris (Harriet Andersson) is seduced by a rich old man (Gunnar Björnstrand) who identifies her love of expensive clothes and jewelry as her weak spot.

The 1950s were anni mirabili for Ingmar Bergman, when he was increasingly cementing a reputation as one of the finest filmmakers in the world. Though this 1955 effort came out right in the middle of such legendary achievements as "Summer with Monika", "Sawdust and Tinsel", and "The Seventh Seal", it has never been considered one of Bergman's better films, and there hasn't even been much of a push to recognize it as a lost masterpiece like some other lesser-known works of this period. The plot revisits already well-worth themes. Plus, I was very underwhelmed by the initial minutes of the film, which sinks into pure melodrama at one point as Susanne agonizes on a train and considers suicide. The film is shot in a dry, realistic style and lacks the dazzling effects that Bergman had already begun to employ.

However, the film is certainly worthwhile for established fans of Bergman through the performances he evokes from the actors. Dahlbeck, who was considered quite a great talent and beauty in her day, leaves me cold, but Ulf Palme elicits simultaneous sympathy and disgust as the henpecked husband that Sussane has an affair with. Inga Landgré's small but climactic part as the man's wife thrills with her composed delivery of devastating lines. The real stars of the film, however, are Andersson and Björnstrand. Harriet Andersson was a sex bomb, and often played roles that capitalized on that, but here her ditzy Doris is a full-fledged character of her own, different from Andersson's appearances in other Bergman films. She also knows how to drive so much of the interpersonal action with her deft facial expressions alone. Björnstrand is admirable for the charm and grace he shows as the old seducer, and with poise he gradually shows the cracks in the façade as their fling might not have been a good idea after all.

What was interesting to me as soon as I started up this movie was the fact that the title didn't seem to match the translation. Kvinno Drom, the opening title said. The Swedish surely don't have a two word phrase for the word dream, do they? So, as the titles kept running, I pulled out my phone and used Google to translate the original Swedish, and Google says it comes to Female's Dreams. The literal translation of the title does seem to fit the movie better, but it's an interesting change that seems rather unnecessary.

Anyway, this feels like a continuation of the theme at the center of Summer with Monika, and the way Bergman extends the theme cements my suspicion that he wasn't lionizing Monika's choice to abandon all responsibility and leave her new family. In Dreams, we follow two women, a model (Doris) and the manager of a fashion photography studio (Susanne). As implied by the title, both have their dreams on which they cling, dismissing more realistic parts of their own lives. Doris has a nice, unremarkable boyfriend that she dismisses because he's angry she's suddenly cancelling their plans for the evening because she must take the train with Susanne to do a new photoshoot in Gothenburg. In Gothenburg, Susanne has concocted a photoshoot in order to try and see her former lover, a married man with children.

So sets the stage for two largely unrelated adventures. Doris meets an older man who immediately starts buying her things (an expensive dress, shoes, a string of pearls), but he is very much an old man. He physically cannot keep up with the young model and ends up collapsing at one point. Doris lets the fantasy fall away when the man's adult daughter comes and berates him for having abandoned her mother in a mental institution and strips the artifice of Doris's expensive day away by calling her .. Doris meekly gives the dress back and returns to her hotel.

At the hotel, Susanne begs and pleads until her lover comes. He plans on breaking it off, but she wears him down to making love to her. They plan on meeting again in Oslo a few weeks later when the wife appears and emasculates him in front of Susanne. He's a weakling who cannot leave his wife but cannot abandon Susanne at the same time. The scales fall from Susanne's eyes.

When the two women return home they find that their illusions no longer have any power over them. Doris reconnects with her man, and Susanne tears up a letter from hers. They've both moved on from the more childish notions they had of love and have grown.

Now, the movie, I think, is certainly good, but it's odd structure (which keeps the two women completely separated for nearly half the movie) really undermines it, keeping it well short of greatness. I really liked it, finding the individual stories involving, well-acted, well-photographed, and interesting, but the package as a whole suffers from the distance between the two.

Ingmar Bergman was a director who had to learn his trade. Therefore his first films are not his best ones. The problem with "Kvinnodröm" (1955) however is that it was made nearly 10 years after his debut "Crisis (1946).

"Kvinnodröm" is about two women, Susanne played by Eva Dahlbeck and Doris played by Harriet Andersson, who both have an affair during a business trip. Two other women (the daughter and the wife of their respective lovers) open them the eyes for the real personality of their lovers.

"Kvinnodröm" is a rather shallow and predictable movie. A real "in between". This means for the oeuvre of Ingmar Bergman an "in between" between "Smiles of a summernight" (1955) and "The seventh seal" (1957), two fils that are widly regarded as superior.

The only real interesting scene was in my opinion the scene in which it becomes clear (by way of showing a painting) that the old man is wooing Doris primarily because she is very similar to his former wife. This makes film lovers automatically think of Hitchcock films such as "Rebecca" (1940) and "Verigo" (1958). It is however also this comparison with the aforementioned masterpieces that shows the mediocrity of "Kvinnodröm".

That is not to say that there are no good performances in "Kvinnodröm". Gunnar Björnstrand is rather convincing as a dirty old man well above his age at that time. Despite her very short appearance I also liked Inga Landgré as the cheated wife. Inga Landgré was not a regular choice of Bergman, but she was the lead actress in his debut movie "Crisis" (1946).

This film talks to all of those concerns that each of us has to face, at one time or another, in our relationships. I cannot put into words what is depicted in this film... but I can say that anyone that appreciates the perversity of Eyes Wide Shut or Husbands and Wives (in how they treat the subject of marriage/commitment/relationships) should enjoy this film. In fact, I wouldn't doubt that this is the original and the best film to tackle the subject.

The subject matter is presented in a somewhat tragic sense, but I think the film is rather uplifting in its treatment when it is considered from beginning to end. The simplicity of the presentation also leaves the viewer with the sense that this is a very poetic film.

I highly recommend this film, especially for those who are sufficiently ancient to have suffered enough in love to understand its (love's) beauty.

Does that sound pathetic or what? But I think it's true.

Enjoy.

This is a "minor" Bergman's work indeed, nevertheless a great piece of cinema, scene after scene after scene. And if you belong to those who would rather watch Bergman than some Hollywood trash, and somehow missed this work, then yet another great one hour twenty minutes await you. Love is a timeless subject, and this movie will always have its small audience. And for this type of viewer a review that dissects it all is not necessary. Other folks should simply move on and watch something else that fits their intellectual and spiritual capacities.

By the way, the rating of 'Dreams' = the rating of 'Beowolf'. Such is a sad and pathetic state of human condition.

This is a pretty nice film from Bergman's early work. It focuses on two women. One, a photographer, is a strong woman in her business, but is hanging on to a time when she was in love. She lost that love and sort of intimidates him into meeting her in a few days. She is getting older and more lonely and doesn't see life as worth much (really---in a Bergman film?). The other, played by Harriett Andersson is a young photographic model, has a fiery temper and she has driven off her lover. As she tries to get her bearings, she window shops, and is approached by a rich old man (a widower), who buys her an expensive dress, jewels, and shoes. They go to an amusement part where she has a great time while his strength begins to fizzle. They go back to his huge house and frolic like teenagers. They both have too much to drink and she is trying to seduce him when his daughter shows up and embarrasses both of them. She is stunned at how foolish she has been. The first woman meets her former lover, now a family man, and tries to rekindle the attraction. But then a series of events take place (I won't spoil the scene). The acting is excellent and there is actually a positive message that comes out of this.

This title ( Journey into Autumn was the English title and had an X certificate in the late 1950's ) is I think better than the bland title Bergman gave it, translated as ' Dreams of Women ' and the even blander title of ' Dreams. ' elsewhere. It is a personal favourite out of all of Bergman's films for me, and although it deals with less grandiose and sometimes more pretentious subject matter that several of his other films have, this is rooted in a special ' reality ' that only Bergman could achieve. Basically it is two stories; a fashion designer played by Eva Dahlbeck is the core of the first, and Harriet Andersson who is a fashion model working for Dahlbeck the second. Driven by a desire to see a worthless ex-lover Dahlbeck plans a trip to the place where he lives, taking Andersson with her. Their acting is superb, and so is the rest of the cast . Once arrived both women take different paths, both finding men who are heading to their own autumn in life, and inflicting suffering as well as to endure their own. Dahlbeck too has to face up to her autumn years, while Andersson in her spring of life endures her own personal pains. Unlike the men the women are stronger and face the future with more dignity. No more spoilers except to say that Bergman shows us exceptional scenes; a fairground that is a place of nightmare and collapse, and one where a woman believes she has brought into the world a child with a wolf's head, and is assigned to an asylum, the latter spoken of and not seen. ' Gothic ' touches are seen in quite a few of his films. Including ' A Virgin Spring ' and ' The Hour of the Wolf ' as well as ' Persona ' with its collage of disturbing images. I must also mention a scene on a train where Dahlbeck is temped by suicide. Summing up it is a film of great perception and one that should be more well known than it is. In the UK it is only available in a boxset and not bought separately as most of his others are, adding perhaps to its loss of maximum viewing in this country.

This film explores the emotions of love affairs that are ultimately doomed, hopeless dreams if you will, in a pair of interwoven stories. In one, the owner of a modeling agency (Eva Dahlbeck) has been dumped by the married man she's had an affair with for a year, but finds she can't give him up and keeps pursuing him. In the other, one of her models (Harriet Andersson), freshly after having broken things off with her boyfriend, is approached by a man old enough to be her father (Gunnar Björnstrand), who begins showering her with presents. There is something very sad in the characters of Dahlbeck and Björnstrand - she's a strong woman who is reduced to practically begging for crumbs of affection from a man who's decided to stay with his wife, and he's an affluent man who deludes himself into thinking he's young enough to start a relationship with a young woman. They are both touching and yet pathetic, and they begin to realize this through the eyes of others who confront them - in Dahlbeck's case, the man's wife, and in Björnstrand's, his estranged daughter.

Ingmar Bergman was 37 when he made this film, on his third marriage and just transitioning from an affair with Harriet Andersson to one with Bibi Andersson. Just as in the films that sandwich it, A Lesson in Love (1954) and Smiles of a Summer Night (1955), it deals with themes of love, marriage, and longing. It seems likely that he drew on his own experiences, and while the confrontation with the wife in this film seems staged, the dialogue and emotions of these characters is incredibly honest and authentic. Dahlbeck and Andersson are both terrific, perfectly capturing their characters, and they lead a strong cast. Dahlbeck's scene on the train, where she opens up the window and puts her head out into the rain, stands out, and I liked the playfulness of seeing Andersson on the rides at the amusement park. Andersson played a variety of roles for Bergman, e.g. young lover, tomboy, bombshell, schizophrenic, model, and maid all come to mind, and I love how she seems to effortlessly slip into all of them, while at the same time, projecting a certain spark and great screen presence. Bergman balances the playfulness and magnetism with weighty themes of pathos, and it's a combination I find irresistible.

Don't let "Dreams" be your first Bergman: you will never watch a second, and that would be a pity. Bergman directed some of the best films ever, but "Dreams" is not among them.

This tedious film plods slowly along as one stereotyped character follows another. We have a pretty, air-headed model who just wants to have fun, an aging would-be lecher, a bitchy female boss making a fool of herself for love, an ungrateful selfish greedy daughter.... None of them develop or change during the film. "Dreams" commits the ultimate movie sin: it's boring!

I don't know why this film got such a high rating. I can only guess that viewers were so overawed at Bergman's reputation that they failed to notice that the emperor was naked. It's amazing to think that the same director and crew and actors who made the great masterpieces also made "Dreams".

The cinematography is by Hilding Bladh instead of Bergman's usual Sven Nykvist: could this be the reason the film's so bad?

Susanne is a woman in her mid-thirties managing photo shoots. Doris is a much younger model who works under Susanne. In the middle of one photoshoot, Susanne changes the location to another city, purportedly for work-related reasons. In reality, she hopes to reconnect Henrik, a former lover with whom she had a lengthy affair and remains infatuated. Shortly before she and Susanne depart, a tempestuous Doris selfishly tells off Palle, her significant other. Rather than spending a nice evening celebrating Palle's recent accomplishment, the two end with an argument.

Upon arriving in the next city, the women separate for most of the trip, and each endures an illuminating episode that leads them to better understand both their own desires and their relationships with others. These two episodes are dreamlike experiences for the characters that, although they inevitably end, provide the perspectives necessary for the protagonists to deal with reality more effectively. This is one of the most impactful aspects of the movie, as it puts in the forefront the relationship between fantasy/desire and reality/obtainability: it is not so dichotomous that dreams are irrelevant to reality, but instead that these extraordinary experiences often impact the ordinary in important ways.

Well-shot with interesting camerawork, well-acted, and well-paced, the film checks all of the technical boxes. It also is engaging and the dialogue effectively alternates between insightful and witty. I'll add that the movie includes a scene that I would describe as one of the most brutally searing takedowns of a competing female I've ever seen.

Dreams is definitely a movie worth a watch.