Harriet Andersson Movies

An innocent youth finds love and, eventually, heartbreak in this film, which ranks among Ingmar Bergman's simplest and most unaffected. Harry (Lars Ekborg), the unworldly, unhappy hero, suffers at his job and in his personal life. Then he falls in love with the superficial Monika (Harriet Andersson), who shows little capacity for sensitivity but radiates carnality. Defying the repressive, degrading ways of adult society, the couple flees from the city, their responsibilities, and their problems by stealing a boat and retreating to an island, where they live free of inhibitions or social restrictions. But when the glorious summer comes to an end, the young couple is compelled to return to the city, where their relationship soon disintegrates. Monika gives birth to their child but shows little parental inclination, preferring to sleep late and lounge about. Harry, meanwhile, tries to provide support. Bored, Monika eventually finds another lover, whereupon Harry moves his child from their filthy apartment and determines to make a better life. With its agreeable lead actress and its unadorned style, Sommaren med Monika constitutes one of Bergman's most immediate and accessible films. Harriet Andersson, who became a Bergman regular, shows an unabashed sexuality that would serve her well in subsequent films, and she reveals a canny ability to maintain audience interest, if not sympathy, for a character that is ultimately unappealing, even repellant. Bergman allows Andersson's performance to dominate the film. He generally abstains from emphatic lighting or provocative angles, preferring to accommodate his actress with rich close-ups and sunlit portraits. Andersson's compelling performance, together with the film's idyllic island setting and Bergman's unfailing direction, renders Sommaren med Monika an impressive, noteworthy work. ~ Les Stone, All Movie Guide

This rich, powerful Ingmar Bergman film charts the frustrations and humiliations of several circus performers. The circus's portly owner, Albert (Ake Gronberg), recalls a humiliating incident involving the company's clown, Frost (Anders Ek), who discovered his wife, Alma (Gudrun Brost), swimming nude before a band of cheering soldiers. Having concluded his recollection, Albert visits his estranged wife, Agda (Annika Tretow), who realizes that he has made little money with his circus endeavor. While Albert endures the humiliating encounter with his wife, his jealous mistress, Anne (Harriet Andersson), retaliates by yielding to a seductive local actor, Frans (Hasse Ekman), then realizes that she has been exploited and debased. Later, the drunken Frost informs Albert of Anne's sexual indiscretion, whereupon Albert determines to thrash Anne's cynical lover. In the ensuing altercation, however, Frans manages to thwart Albert's bullish attacks and deliver a series of punishing blows. Beaten and degraded, Albert ponders suicide, then decides to avenge himself on unfaithful women by killing the company's bear, beloved by the provocative Alma, whose betrayal of Frost has so haunted Albert. Following the bear's demise, the company departs to another town. Gycklarnas Afton is full of powerful performances and staggering sequences, including the legendary flashback in which Frost finds his wife cavorting nude before the soldiers. In this scene, played with almost hysterical intensity, Frost, dressed as a clown, tearfully carries his nude wife from the water, past the soldiers, and back to the circus tent. The soundtrack's jarring contrast between sheer silence and a blaring brass band, coupled with the black-and-white cinematography's emphasis on glaring sunlight, generate a mood of considerable tension and unease. This extraordinary scene ranks among Ingmar Bergman's greatest feats and readily establishes Gycklarnas Afton as an unflinching examination of the human condition. ~ Les Stone, All Movie Guide

Not even Ingmar Bergman was prone to discuss his obscure 1955 production Dreams. While on vacation, photo agency owner Susanne (Eva Dahlbeck) hopes to rendezvous with her married lover. The man's wife puts the kibosh on this, whereupon Susanne enters into an affair with diplomat Sanderby Gunnar Bjornstrand. This liaison ends unhappily, leaving her sadder and wiser at vacation's end. So annoyingly confusing is Dreams that at times it resembles a Woody Allen parody of Bergman, rather than the genuine article. ~ Hal Erickson, All Movie Guide

Synnove Solbakken (The Girl of Solbakken) stars Synnove Strigen as the title character. Set at the turn of the century, the story focuses on a drunken lout (played by director Gunnar Hellstrom) who takes out his frustrations on everyone around him. He relents only upon finding out that someone loves him regardless of his many faults. Alas, this turnaround may be too late to do anyone any good. Restraint is not the strong suit of Synnove Solbakken wherein everything is larger than life. ~ Hal Erickson, All Movie Guide

Ingmar Bergman won his second Best Foreign Film Oscar for the moody family drama Through a Glass Darkly. It is the first of what came to be called his "chamber dramas," which positioned four characters in one place where they could interact like a string quartet. It has also been referred to as the first of his trilogy of faith, followed by Winter Light and The Silence, dealing with issues of God and love. Shot in black-and-white and running only 90 minutes long, the film opens with a quote from the book of Corinthians. Suffering from severe mental illness, Karin (Harriet Andersson) has just been released from a psychiatric hospital. She vacations for a summer on an island with her family to help speed up her recovery, but they can't offer the support that she needs. Her father, David (Gunnar Björnstrand), is a clinical and detached writer; her husband, Martin (Max Von Sydow), is a doctor unable to assist her illness; and her brother, Minus (Lars Passgård), is sexually coming of age and dealing with his own emotional problems. Karin's condition worsens and she thinks a spider is God. It has been argued that the script for Through a Glass Darkly was influenced by Charlotte Perkins Gilman's short story, The Yellow Wallpaper. ~ Andrea LeVasseur, All Movie Guide

A widowed woman undergoes a true sexual awakening in this provocative drama. The change comes after her husband of 10 years suddenly dies. During their marriage she never felt a thing during sex. Then she meets a lively Pole and begins an affair. Suddenly she finds herself feeling a great deal, and happiness ensues. ~ Sandra Brennan, All Movie Guide

In this drama set in a Scandinavian hospital in 1915, the individual stories of three pregnant women about to give birth are presented. The women come from a different social classes and have disparate views about the impending births. The middle-class woman married a servant of a wealthy family. She doesn't love her husband, nor does she care much about her child, whom she conceived out of spite. The baby is stillborn, and the woman sheds nary a tear. The second woman became wild and sexually irresponsible after she was seduced as a young woman by a much older man. Dividing her time between modeling and robbery, the woman ends up sleeping with the son of the family the middle-class woman's husband works for. The son is willing to support his bastard provided the wild woman marry his homosexual friend and pretend the child is his. She agrees. The third woman is introverted. As a youth, she had a short-lived lesbian affair in school. She then fell in love with an archaeologist who impregnated her. He refuses to acknowledge the child as his. This enrages the woman who joins a feminist movement and dedicates her life to removing the stigma of having babies out of wedlock. Of the three, she is the only one who really wants her child. ~ Sandra Brennan, All Movie Guide

In this heavy drama, a woman goes on a tumultuous train ride to South America, has a number of affairs, get involved in a murder and finds herself in a brothel. Later she finds herself pursued by one of her train conquests as she returns to New York to become a star dancer. Time passes and she boards another train. Here she is assaulted by a masked man who demands that she take off her clothes. In the morning she wakes up alone. ~ Sandra Brennan, All Movie Guide

Noomi Harriet Andersson is a Jewish woman who survived the Nazi concentration camps of World War II. Although she has married an artist, she carries on an affair with her husband's friend. Noomi can't seem to shake her label as a victim, as people have willfully taken advantage of her all her life. However, she offers no resistance to overcome those who victimize her in any situation. Eventually, her lover divorces his wife in order to be with Noomi. ~ Dan Pavlides, All Movie Guide

This 99-minute film constitutes the first half of Robert Siodmak's mammoth two-part epic Der Kampf um Rom (Fight for Rome). The film depicts the Goths' sacking of Rome in 526 AD. No expense was spared in bringing this story to the screen: for example, Siodmak utilized six companies of Rumanian cavalry for the battle sequence, and the epic packs in an all-star cast including Laurence Harvey as Celhegus, Orson Welles as Justinian and Sylva Koscina as Theodora. The film carefully lays a groundwork of corruption and infighting, suggesting that the siege of Rome was virtually justified. Screenwriter Ladislas Fodor (a former government agent best known for his espionage yarns) adapted his script from the best-selling novel by Felix Dahn. The second half, Der Kampf um rom 2: Der Verrat (which also clocks in at just over 1.5 hours) was issued in 1969, a year after the first; Four years after that (c. 1973), the two parts of Der Kampf um Rom were edited together, cut down to 94 minutes, and distributed as a single entry in the United States.
~ Hal Erickson, All Movie Guide

Old morals fall by the wayside as a young couple agrees to have a child out of wedlock. The woman is a young veterinarian who is drifting apart from her lover. She agrees to have his baby even though their future as a couple is clouded, and they vow to stay together at least until the baby is born. Open discussions with friends about love, sex, mortality and emotional needs are featured between the couple and their friends. The couple forgoes the traditional relationship of marriage and long-term fidelity, allowing for a new found freedom to escape the confining unions of past generations. ~ Dan Pavlides, All Movie Guide