Gunnar Björnstrand Movies

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, All Movie Guide

The mountain slopes of Iceland are shown to excellent advantage in the Scandinavian epic Hagbard and Signe. The story, based on an ancient legend, concerns Hagbard (Oleg Vidov), the son of a slain Norse king. Seeking revenge against the rival clan responsible for the killing, Hagbard calms down long enough to establish a truce. He also falls in love with Signe (Gitte Haenning), daughter of his onetime enemy. Signe's former beau, sizzling with jealousy, breaks the truce and makes it appear that Hagbard was responsible. The young prince escapes, but returns disguised as a woman to his beloved Signe. Thanks to a treacherous handmaiden, both lovers are imprisoned and sentenced to be hanged. Rather than undergo this final ignominy, Hagbard and Signe enter into a suicide pact. A Danish/ Swedish/ Icelandic coproduction, Hagbard and Signe was released throughout Scandinavia as Den Rode Kappe, Den Rodda Kappan and Rautha Skikkjan. ~ Hal Erickson, All Movie Guide

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, 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

Swedish director Hasse Ekman might have seen the multistoried Hollywood film Tales from Manhattan before embarking on his own Flickan Fran Tredje Raden. In Manhattan, the prop common to all of the stories was a dress suit. In Flickan, a valuable ring passes from one owner to the next. The title character, played by Eve Henning, is a woman of reduced circumstances who sells the ring to pay for food, thereby setting the first episode (and all subsequent episodes) in motion. Director Ekman also wrote the screenplay and cast himself in an important role. ~ 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

The Swedish Hennes Melodi (Her Melody) is a showcase for one of Scandanavia's finest actresses, Sonja Wigert. The star is cast as Sonja Larsen, a poor girl pretending to be rich so that she can snag a wealthy husband. She falls in love with Curt Strange (Sture Lagerwall), who like Sonja is a pauper posing as a millionaire, for much the same reasons. By the time they discover that they're both penniless, it hardly matters: Romance has won out over Capitalism. Though the storyline is hardly new, Hennes Melodi seems fresh and spontaneous throughout its 98 minutes. ~ Hal Erickson, All Movie Guide

The Swedish-language picture Torment (AKA Hets, 1944) marked one of the first credited screenwriting efforts of the then 26-year-old scenarist Ingmar Bergman, and one of the broadest international successes of the gifted Swedish director Alf Sjöberg; it also launched the onscreen efforts of two young Scandinavian actors, Alf Kjellin and Mai Zetterling. This tragic drama concerns the ill-fated romance between student Jan-Erik Widgren (Kjellin) and Bertha Olsson (Zetterling), a slightly older, alcoholic widow who works at a tobacco store, and whom Jan-Erik meets when he discovers her unconscious in the street. The premise of the film finds Jan-Erik struggling valiantly to maintain his ongoing sexual affair with Bertha, while grappling, on the side, with the machinations of a sadistic and abusive professor, Caligula (Stig Jarrel. Events take an ugly turn when Jan-Erik discovers that Bertha is actually Caligula's lover - setting the stage for tragedy on the night of her booze-soaked orgy with the old man. Ultimately, both lovers are relentlessly victimized by the professor's doings. The cast also includes: Olof Winnerstrand, Hugo Bjorne, Stig Olin, Olav Riego, Marta Arbin and Nils Dahlgren. ~ Nathan Southern, All Movie Guide