6/10 a competent movie with a great dog named Gruffman.Having now seen his movies before this, i can see the development, but this is still such a stratospheric leap. ❤there is so much tenderness in the little details of the actor performances, they must have been improvising most of the time. Touching on many of the themes that would define the rest of his legendary career--isolation, performance, the inescapability of the past--Ingmar Bergman's tenth film was a gentle drift toward true mastery. It's all here, even the questioning of faith, although rather brief.I love how Marie was aged in the film. Perfect. Lovely, tragic and incredibly wistful. Marie and Henrik's relationship is like a new flower blooming. Heartbroken, Marie immerses herself in her dancing and closes herself off from the world until she finds her diary from that summer which forces her to confront the past. not really sure how i feel about the ending though, will have to rewatch it.First things first - All the 4 Bergmans I've watched till now were so heavily drenched in existentialism or religion or God and given the mood, I was in today, I deliberately chose to watch a lighter Bergman and it turned out that even his so-called light film is heavier than many heavy ones out there! A lonely woman recalls her first love thirteen years prior during a brief summer vacation. It's as if Bergman knew how to catch the angles of an individual in the same way you would see someone for the first time; like when someone's appearance alone strikes you intensely for no rhyme or reason.…This is it. They both have never experienced anything like it. It's as if you're watching two characters, clearly Bergman's intention, which sadly reinforces the fact that Marie of the present is merely a shell of the Marie of 13 years before. Took me a year to work through…In 1998, Criterion began publishing DVDs. Remains my favourite This marks the first film where the shot selection grows from admirable to impeccable in Bergman's filmography.I sincerely wish I didn't have to pause the film every time I wanted to screenshot something because there were just so many shots in this film, albeit the first ten minutes, that struck me on an emotional level.

It could be that it's more about death than love in the end, or maybe mostly about intertwining of those two.I've owned this film for far too long, but only just now got around to watching it, thanks to - Gruffman the dog is one of the coolest canines to ever grace the silver screen.This is a stunningly beautiful piece of art. "Something's wrong with Marie," a dancer comments before rehearsal on…Why was I enthralled by the unapologetically pulpy romance in this movie but annoyed by the unapologetically pulpy romance in Summers in Sweden are short but sweet. I still found it considerably more enjoyable than Bergman’s earliest work but it didn’t do the same for me as something like To Joy or Wild strawberries.

Bergman was first and foremost a stage director and heterosexual swedish call me by your name with ballet instead of piano and strawberries instead of peaches.Marie is a prima ballerina. Romance. Life is short, and autumn is sure to arrive sooner or later. A film that the director considered a creative turning point, Summer Interlude is a reverie on life and death that bridges the gap between Bergman's past and future, theater and cinema. Touching on many of the themes that would define the rest of his career—isolation, performance, the inescapability of the past— Ingmar Bergman’s tenth film was a gentle drift toward true mastery. Simply put, in the fifties and sixties, the name Ingmar Bergman was synonymous with European art cinema. This was one of Bergman's favorite films. This feels like a tipping point in Bergman's career. Summer Interlude is an early Bergman from 1951, and is a particularly fresh film from a director one associates with anguish and suffering, largely.



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