Smiles of a Summer Night (1955)

I have seen just about all of Bergman's available films and Smiles of a Summer Night is among my favorites. The humor derives from the situations, cleverness of the dialogue and foibles of the characters, rather than from Woody Allen-type punch lines. (Bergman has funnier lines in Seventh Seal coming from the squire in his scenes with the church painter and blacksmith). Much of the humor comes from the changeability of the characters. At one point, Jarl Kulle's character says he doesn't mind if someone has an affair with his wife, but they better not fool around with his mistress, and later on says just the opposite. Like Renoir's Rules of the Game or Carne's Children of Paradise, the ensemble cast grows on you with each viewing. Along with Wild Strawberries, a good place to start with Bergman.

Fmovies: In the beginning of the Twentieth Century, the successful fifty years old lawyer Fredrik Egerman (Gunnar Björnstrand) has been married for three years with his naive nineteen years old wife Anne (Ulla Jacobsson), who is still virgin. His adult son from his former marriage, Henrik (Björn Bjelvenstam), lives in celibate preparing to be a priest. Their servant is the young and futile Petra (Harriet Andersson), who easily falls in love for every man. When Frederik goes to the theater with Anne, he sees the actress and his former mistress Desiree Armfeldt (Eva Dahlbeck) and he meets her alone in her dressing room after the performance. They go to her house, Frederik falls in one puddle and she gives the robe and the pajamas of her present lover, the military Count Carl Magnus Malcolm (Jarl Kulle), who is married with Anne's friend Countess Charlotte Malcolm (Margit Carlquist). However, Malcolm unexpectedly arrives and after the unpleasant encounter of the trio, Desiree ends their relationship. On the next morning, Desiree plots a weekend in her mother's summer real state with Frederik, Anne, Henrik, Malcolm and Charlotte, with the intention of seducing Frederik again. Along the night, with the three smiles of love, four couples are formed.

"Sommarnattens Leende" is a delightful, cynical and witty romantic comedy with wonderful dialogs and situations. Showing a magnificent art direction and cinematography, this sardonic story discloses three different types of love: the pure of the youngsters, represented by Anne and Henrik; the silly and quite naive, represented by the maid Petra and the groom Frid; and the cynical and malicious of the arrogant Malcolm and Charlotte and the Machiavellian Desiree and Frederik. In the DVD, Ingmar Bergman explains the importance of this movie in his career, with the recognition of the Sweden Industry giving independence for him after the worldwide success of "Sommarnattens Leende" inclusive in Cannes Festival. My vote is eight.

Title (Brazil): "Sorrisos de Uma Noite de Amor" ("Smiles of a Night of Love")

Sardonic morality story about four couples who represent the different aspects of love. Sometimes a deadpan comedy, sometimes a dark introspective epic. I loved the scenes between the Count and Fredrik, showing off the different faces of arrogance. In some places it can get overly melodramatic - the orchestra hits, for example, no longer have the same meaning.

The visual metaphors are the most subtle, and most interesting, that I have ever seen (many are laughably overt and cleverly overshadow the more subtle ones). If you don't speak Swedish and have to read subtitles, try as much as you can to read the faces of the women as they speak, especially Charlotte and Desiree as they try and overcome their phallic universe.

Smiles of a Summer Night fmovies. Begrman's comedy's tend to leave me cold, but I was persuaded that this one would be interesting. Bergman to some extent made his name on the back of this film. Woody Allen famously based A Midsummer Night's Sex Comedy on this movie, thus coming out as a Bergman fan.

Frankly, I think Allen has more talent for comedy than Bergman, but Smiles of a Summer Night has more depth and more interesting development of ideas than the Allen follow-up.

This movie is a typical comedy of manners and the plot is of little consequence - it has a few fun moments but the interest is in the acting and the ideas. In terms of performances, Gunnar Bjornstrand and Harriet Andersson are both superb - the rest are Bergman's usual suspects, mostly of ensemble quality. Perhaps it is Bergman's weakness with comedy, but Eva Dahlbeck and Jarl Kulle (who appear frequently in his comedies) usually seem very weak to me. Bibi Andersson is in this movie, but I blinked at the appropriate moment so I missed her. Sigh.

The core ideas of the film (that love visits few of us, even fewer of us make a good fist of it, most of us live lies and/or make fools of ourselves in matters of love) are examined well and in an enjoyable way. The style of this comedy reminds me of Jean Anouilh's lighter plays, which I suppose reflects the European style of the 1950's.

Most Bergman comedies have aged disgracefully, but this one has aged gracefully and certainly has something. Worth watching.

Ingmar Bergman's dramatic forays capture what is very essential to great dramas- the key emotions should be expressed like poetry, flowing to a rhythm even if it's somber and tragic. He uses this emotional logic with his actors for this comedy of manners and the heart (pre-Seventh Seal), where he has his screenplay wonderfully unfold the character's amusing feelings on love, sex, and dealing with the opposite gender, all the while making sure his players know the words and the music. Here he has Gunnar Bjornstrand, a regular later on, as a lawyer who has a son and mistress, but also pines for an actress who may not fancy him as much as she used to. Harriet Andersson, also a regular in other Bergman films (a key one being Cries and Whispers where she played the dying woman), appears as a young, joyful woman, who even gives the lawyer's son, a priest, a bit of lust here and there.

In fact, Smiles of a Summer Night is Bergman's most joyous film, though that's not to say there can't be grand moments of joy in his dramas and reflections on god. But in this film, he shows how he is a filmmaker quite competent to skillfully accomplish a story of real people in real romantic whimsies, and at times (such as a quick scene on a bed with two giggling, laughing girls) reveals his views on humanity are truly not as bleak as some might think. Assuredly a must watch for fans of the director, yet one may want to watch a couple of his dramas if they're just starting out on his films (depending on the mood- personally, this would serve as a great pick-me-up as opposed to the stark Cries and Whispers).

A rare comedy from director Ingmar Bergman.

It takes place at the turn of the century. Fredrik Egerman is an old, cynical man who is married to beautiful, young (20) Anne. She can't have sex with him--she's too afraid. He knows and agrees to be patient. He also has a son from a previous marriage (Henrik) who is attracted to Anne. He's also attracted to the maid Petra. Then there's Desiree, a former mistress of Fredrik who is now sleeping with Malcolm (who's also married) and still attracted to Fredrik. Got all that? They all end up spending a summer weekend at a beautiful house in the woods. Things come to a head.

I've always wanted to see this--the title alone is beautiful. I did see it in a revival theatre in the 1980s--I hated it. The print was lousy and edited! During a fairly explicit (for 1955) talk about sex the subtitles disappeared! Just saw it again--unedited and in pretty good shape. While I don't think this is a masterpiece (I'm not a Bergman fan) I did like this.

It is funny--but pretty subtle. The relationships are all complicated but you do have them straight by the end. What's really good about this film is how Bergman treats (and shows) his female characters. Except for Anne (but she changes) they're strong, stand up for themselves and find men and their ways amusing--some of Desirre's looks were very funny. Also, in the form of Petra, they want sex and have no problem letting men know. For 1955 audiences this must have been shocking--Petra (almost) bares her breast and the sexual talk between women is very frank.

The acting is good by everybody...but the film is lacking in romance. I never believed any of these characters loved each other. Also it's slow-moving but it all ends happily. So I did like it--I give it an 8.

Later musicalized by Stephen Sondheim as "A Little Night Music" and disastrously remade (sort of) in Woody Allen's "A Midsummers Night Sex Comedy". Avoid that one at all costs.