Åke Fridell Movies

This satirical comedy examines the loneliness of men and women from the Swedish perspective and their resolve to find Mr. or Miss Right or Mr. or Miss Right-Now. Couples try to find their soulmates in a series of vignettes and sight gags. Director Tage Danielsson co-wrote the script with Hans Alfredson. ~ Dan Pavlides, Rovi

Much better known in the U.S. as The Magician, this award-winning, surreal, evocative drama stars Max von Sydow as the title character and features several of Sweden's top performers. Set in the 1840s in Stockholm, the mystery and enigma of life and death itself are embodied in Vogler, the magician who runs "Vogler's Magnetic Health Theater." When his traveling show arrives in town, the police commissioner, a doctor, and a civil servant are intent on putting his supernatural powers to the test. As the pendulum swings between fearful images and moments of comic relief, the mysterious Mr. Vogler defies analysis. In 1959, Ansiktet was given the "Best Film" prize at the British Academy Awards, the "Best Foreign Film" prize at the New York Film Critics Awards, and two prizes at the Venice Film Festival. ~ Eleanor Mannikka, Rovi

After exploring his disillusionment with religion in his previous films, Ingmar Bergman adopted a humanistic approach for this classic study in isolationism. Legendary Scandinavian director Victor Sjöström stars as Isak Borg, an aging medical professor who reassesses his life while journeying to his former university to receive an honorary degree. Borg travels with his estranged daughter-in-law Marianne (Ingrid Thulin) and revisits many of the landmarks of his past, conjuring up memories of his family and of his onetime sweetheart Sara (Bibi Andersson). Returning to the present, he meets a teenage girl who resembles the long-departed Sara. She hitches a ride with the professor and Marianne, as do a ceaselessly bickering married couple. These new characters eventually become intertwined with Borg's hazy flashbacks and fantasies, as the old man recalls the disappointments and disillusionments that have left him cold and guilt-ridden, attributes emphasized when he encounters his equally cold and resentful son. Bookending Borg's odyssey of self-discovery are a series of symbolic images at the beginning of the film (a clock without hands, a man without a face) and a hauntingly beautiful finale, in which professor is beckoned back to the "perfect" world he left behind so many years earlier. This classic art movie remains one of Bergman's most accessible films and one of the most influential European art movies of its generation. Its intense focus on one man's thoughts, regrets, and memories set the tone for innumerable psychological character studies in its wake. ~ Hal Erickson, Rovi

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, Rovi

Froken Julie (Miss Julie) is adapted from August Strindberg's trenchant one-act play of the same name. The title character, a young woman of prestige and property, is played by Anita Bjork. Taught by her mother to hold all men in contempt, Miss Julie nonetheless enters into an affair with misanthropic valet Jean (Ulf Palme). Their passion for one another is tempered by their mutual animosity, and the results are catastrophic. Playwright Strindberg's intense dislike for womanhood will probably alienate half the audience of Miss Julie, but director Alf Sjoberg's handling of the material is masterful--so much so that this film, together with Frenzy (1947), cemented Sjoberg's international reputation as a filmmaker of distinction (despite the efforts by American censors to "water down" the film). ~ Hal Erickson, Rovi

Swedish filmmaker Alf Sjoberg's Bara en Mor takes place in a Statare, a farming community where the workers and their families were reduced to virtual serfdom by the landowners. The director uses this setting to decry the restrictive class structure that still existed in Sweden as late as the 1930s. Rya-Rya, the central character played by Eva Dahlbeck, is the mother of a large and ever-expanding brood. Rya-Rya must not only worry about putting food in the mouths of her children, but also reaching the inevitable day when she will have outgrown her usefulness to the landlords -- and must face the loss of her home and land. The drama is heightened by Rya-Rya's passion for two different men. Bara en Mor contained a bit of nudity that caused the film some problems when it was released in the U.S. as Only a Mother. ~ Hal Erickson, Rovi

Jag Armed Eder translates literally as I Am with You. This oddly bland title fails to capture the scope and grandeur of the film, which tells the story of Swedish missionaries spreading the Word in the wilds of Africa. Much of the film was lensed on location in Rhodesia and along the Zambesi river by Ake Dahlquist, one of the unsung masters of Scandinavian cinematography. The head missionary is played by Victor Sjostrom, the veteran actor/director best known to American audiences for his performance in Ingmar Bergman's Wild Strawberries. A hit in its native Sweden, Jag Armed Eder did equally well in Norway, Denmark and Finland. ~ Hal Erickson, Rovi

Literally translated, the title of this early Ingmar Bergman effort is It's Raining on Our Love. Though hardly representative of the best that Bergman would have to offer, the film was highly regarded by critics and moviegoers alike when it first appeared in 1947. Put simply, the story theorizes that just because someone commits a criminal act, that someone isn't necessarily a criminal. Barbro Kollberg plays the unfortunate soul whose solitary indiscretion seriously jeopardizes his future happiness. The plot Det Regnar pa Var Karlek is "explained" throughout by an ersatz stage manager, the sort of theatrical device that Bergman would abandon as he became a more self-confident filmmaker. ~ Hal Erickson, Rovi