Jarl Kulle Movies

The primary two loves of Alfred Nobel's life provide the basis of this Swedish biopic. Alfred Nobel was the inventor of dynamite and the founder of the prestigious Nobel Prize, which he created as a way to assuage his conscience after unleashing such a destructive force upon the world. One of Nobel's lovers was Bertha von Suttner, an Austrian woman he loved, but never made love to. The other was the adulterous Sophie Hess with whom he had a passionate affair. Also examined are some of the things leading up to Nobel's inventions. The big-budget story was shot at many scenic locations in Sweden, France and Austria. ~ Sandra Brennan, All Movie Guide

Ove Rolandsen (Bjørn Floberg) is preoccupied with getting ahead in the world, and having a bit of fun while he does that. It's 1903, and he works as a telegraph operator in a town on the northern coast of Norway. He'd also like to marry Elise (Marie Richardson), the daughter of a local factory owner. She's very nice looking, and she's also interested in him, but there are two obstacles to their getting married. In the first place, she is the fiancee of a ship-owner whose connections are useful to her father's business. In the second place, he's not very well off. He applies himself to his second vocation, inventing, in the hopes of discovering something which will rectify his poverty, and in the meantime, doesn't mind going to bed with the town pastor's pretty wife. ~ Clarke Fountain, All Movie Guide

The Danish/French Babette's Feast is based on a story by Isak Dinesen, also the source of the very different Out of Africa (1985). Stephane Audran plays Babette, a 19th century Parisian political refugee who seeks shelter in a rough Danish coastal town. Philippa (Bodil Kjer) and Martina (Birgitte Federspiel), the elderly daughters of the town's long-dead minister, take Babette in. As revealed in flashback, Philippa and Martina were once beautiful young women (played by Hanne Stensgaard and Vibeke Hastrup), who'd forsaken their chances at romance and fame, taking hollow refuge in religion. Babette holds a secret that may very well allow the older ladies to have a second chance at life. This is one of the great movies about food, but there are way too many surprises in Babette's Feast to allow us to reveal anything else at this point (except that Ingmar Bergman "regulars" Bibi Andersson and Jarl Kulle have significant cameo roles).. ~ Hal Erickson, All Movie Guide

John (Jarl Kulle) is a sea captain whose wife left him years ago in this sentimental romantic drama. One weekend, he meets and falls for Anita (Christina Schollin), the pretty single mother of six-year-old Helent (Helene Nilsson). The film opens with John and Anita in bed together, sharing their life stories with each other. John begins to hope his relationship with Anita will grow into something permanent, but Anita is not convinced that his intentions are altogether honorable. The feature was nominated for an Academy Award for "Best Foreign Film" in 1965. ~ Dan Pavlides, All Movie Guide

What is so rare, and cherishable, as an Ingmar Bergman comedy? All These Women concerns the sexual misadventures of cello-playing Jarl Kulle. Amidst his many romantic pursuits, the egotistical Kulle endeavors to get his life story published, "bribing" a writer by agreeing to perform the latter's musical compositions. Bergman regulars Eva Dahlbeck, Harriet Andersson and Bibi Andersson costar in All These Women, while the screenplay was cowritten by another stalwart member of the director's stock company, Erland Josephson. Originally titled For Att Inte Talla om alla dessa Kvindor, All These Women is better known in English-speaking countries as Now About All These Women. ~ Hal Erickson, All Movie Guide

In this romantic comedy, a young heir sets off to prove he can make a fortune on his own by working from the ground up at a bank. To assist his rise, he woos the daughter of a wealthy client. At first it's only business, but in time he comes to love her. When he eavesdrop on a conversation in the bank and overhears some hot market tips, his good fortune is assured. ~ Sandra Brennan, All Movie Guide

A light farce from Swedish director Gentele Goran, this amusing comedy stars Gaby Stenberg as a wealthy widow and Jarl Kulle as a writer she meets on a plane. Once the two get together they are involved in a series of incidents that keep them interacting and in the end, romance begins to blossom. Various situations are set up for good comic effect, as the scene described by the title where the writer and a thief find themselves in the widow's bedroom -- with the subsequent comedic attempts at righting an essentially "wrong" predicament. ~ Eleanor Mannikka, All Movie Guide

In this multi-faceted Ingmar Bergman film, rich in dramatic and comic elements, three wives pass time in a summer house, awaiting the returns of their husbands, by entertaining each other with recollections of past marital traumas. In the first recollection, the sexually unfulfilled Rakel (Anita Bjork) shares a bathhouse, and more, with a former lover, Kaj (Jarl Kulle). When her emotionally withdrawn husband (Karl-Arne Holmsten), an antiques collector, returns and discovers the incident, he retreats to a garden hut and vows to kill himself. But he is dissuaded from self-destruction by his older brother, who blithely reassures him that an unfaithful wife is better than no wife! The narrator of this episode wearily allows that her husband is little more than a child. Marta (Maj-Brit Nilsson), the storytelling wife of the second episode, recalls her love affair and marriage to a Parisian artist (Birger Malmsten) whose family disapproved of the relationship. Included in her tale is a vivid child birthing. The third episode is a comic classic in which Bergman regulars Eva Dahlbeck and Gunnar Bjornstrand play emotionally estranged spouses who rekindle their marriage while trapped in an elevator. Kvinnors Väntan, which closes with the resolution of a framing tale involving the elopement of two younger lovers, shows Bergman in complete mastery of the film medium. Whether manipulating close-ups during an emotional give-and-take seduction or employing symbolic imagery to emphasize the joy of becoming a parent or merely allowing consummate pros to indulge in slapstick, he proves himself unfailingly adept at all facets of filmmaking. This is one of several lesser-known but nonetheless impressive Bergman films from the mid-1950s. ~ Les Stone, All Movie Guide