Harriet Andersson Movies

Anna (Harriet Andersson) is a 40-year-old anesthesiologist who takes a working vacation with her teenage daughter (Maarit Hyttinen) and their maid (Pertti Melasniemi). She turns down her lover's request to marry because she believes the union will not maintain their status as equals. Next door to the trio lives a boozy ex-politician (Papani Perttu) and his teenage son (Tapio Rautavaara). The maid and the neighbor boy engage in a passionate affair while Anna reflects on her middle age and examines her changing values in regards to life, love and her career. ~ Dan Pavlides, All Movie Guide

The dark recesses of a troubled psyche come to the light of day in this psychological thriller. In the story, Richard (Boman Oscarsson) is a young international art smuggler, who moves into the apartment of his cartoonist half-brother, who has disappeared. Once established there, increasingly strange mental states arise in his mind, and he sees (or seems to see) strange things going on around him. In addition, he has difficult encounters with his ailing mother and with a former girlfriend. As the experiences grow more numerous and intense, he decides that it is vital for his sanity that he discover what has become of his missing brother. ~ Clarke Fountain, 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

En Lektion i Kärlek constitutes one of Ingmar Bergman's more overtly entertaining films. In this highly engaging comedy, Bergman reunites Gunnar Bjornstrand and Eva Dahlbeck, who had already teamed to great effect in the final, comic episode of Secrets of Women (1952), and he once again casts them as an amusingly antagonistic husband and wife. Bjornstrand's character, David Erneman, is a successful gynecologist who has jeopardized his sixteen-year marriage by entering into an affair with one of his patients. In retaliation, his wife, Marianne, departs for Copenhagen to revive relations with a former fiancé. David initially seems only slightly disturbed by his wife's action, but when his affair ends and he enjoys an afternoon with his inscrutable daughter (Harriet Andersson, in an especially plucky turn), he determines to embark for Copenhagen and win back his wife. But his initial efforts at a reunion hardly bring him success, and only after a barroom altercation with his brutish rival does David seem to rekindle his wife's affection for him. En Lektion i Kärlek is a pivotal film in the Bergman canon, reviving his fortunes after the critics' rejection of Gycklarnas Afton (Sawdust and Tinsel) (1953) and spurring him toward his comic masterpiece, Sommarnattens Leende (Smiles of a Summer Night) (1955). Bergman came to regard En Lektion i Kärlek as a divertissement, but the film is of a greater magnitude than usual comedies of domestic life, and Bergman concludes it with the endearing image of Cupid strolling past the hotel room of the reunited couple. ~ Les Stone, All Movie Guide

Though he made allusions to his own life in all of his films, Fanny and Alexander was the first overtly autobiographical film by Ingmar Bergman. Taking his time throughout (188 minutes to be exact), Bergman recreates several episodes from his youth, using as conduits the fictional Ekdahl family. Alexander, the director's alter ego, is first seen at age 10 at a joyous and informal Christmas gathering of relatives and servants. Fanny is Alexander's sister; both suffer an emotional shakedown when their recently-widowed mother (Ewa Froling) marries a cold and distant minister. Stripped of their creature comforts and relaxed family atmosphere, Fanny and Alexander suddenly find their childhood unendurable. The kids' grandmother (Gunn Wallgren) "kidnaps" Fanny and Alexander for the purpose of showering them with the first kindness and affection that they've had since their father's death. This "purge" of the darker elements of Fanny and Alexander's existence is accomplished at the unintentional (but applaudable) cost of the hated stepfather's life. Ingmar Bergman insisted that Fanny and Alexander, originally a multipart television series pared down to feature-film length, represented his final theatrical film, though within a year after its release he was busy with several additional Swedish TV projects, and his final work, the 2003 Saraband (also produced for Swedish television), eventually received global theatrical distribution. Oscars went to Fanny and Alexander for Best Foreign Film, Best Cinematography (Sven Nykvist), Best Costume Design and Best Art Direction/Set Decoration. ~ Hal Erickson, 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

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

Anne (Harriet Andersson), a buyer for a Finnish company travels to Stockholm on a business venture. There she is reunited with her former French lover after she has an affair with a Swedish architect. Anne turns down the Frenchman and consoles the other man who believes he may be plagued by an old war injury. The audience is left guessing as to how Anne will resolve her feelings and whether or not it will effect her future. ~ Dan Pavlides, All Movie Guide

Maria (Karina Skands) is an 18-year-old, late-blooming woman who has for years been a gifted violinist. She live in the slums of Copenhagen and has led a sheltered life often marked by poverty and cruelty. Due to her consuming musical passions -- fueled by the expectations of her overprotective father -- the beautiful Maria is unaware of her own attractiveness. She feels the first stirrings of love with Jonny (Ole Lemmeke), but she leaves him when he turns out to be a repressed homosexual. ~ Dan Pavlides, All Movie Guide

Those with a special love for Swedish films and who are familiar with actresses Harriet Andersson and Bibi Andersson and Gunnel Lindblom will be most delighted by this documentary interview held at the palatial French retreat of noted late filmmaker Mai Zetterling. The trio of actresses have ostensibly gathered to pay tribute to Zetterling, but during the course of their day also reminisce about their own careers and the illustrious figures, including Ingmar Bergman, they have worked with. ~ Sandra Brennan, All Movie Guide

Harriet Andersson stars as Marianne Croneman, the bored wife of bourgeois Arvid Croneman (Ulf Palme). Marianne prefers the company of family doctor Lennart Hagg (Erik Strandmark), who reciprocates her feelings. Together, Marianne and Lennart plot the murder of Arvid, making it look like natural causes. While on their own honeymoon, the homicidal couple is brought to justice through an elaborate charade, staged by the dead man's relatives. Also known as Woman in a Fur Coat, Kvinna I Leopard manages to keep the audience guessing from start to finish. ~ Hal Erickson, All Movie Guide