Ingmar Bergman has left a reputation as one of the premier cynics of the cinema. A lifelong agnostic, he always held the belief that God did not exist and this life offers little, if any condolences to counter that feeling.
After experimenting with various genres and trying to find his niche in the late 1940s, Bergman slowly began to establish himself as the finest Swedish film director ever known. This film, released in 1953, reminds me in many ways of the great Federico Fellini's 1954 film La Strada, also about a circus troupe and also focusing on the relationship between the aging circus leader and his female companion. Despite this common ground, the two great directors differ in that Fellini turns his attention to the joy and zest of performing and the difficulties that still lie within. With Bergman, troubles always abound and there is no shortage of sadness and sorrow. Indeed, none of these characters are truly happy in the way of the definition. Yet, they continuously search for some sort of satisfaction and happiness. Life is a long, sluggish journey that may never find its ultimate goal.
Despite the downbeat tone, Bergman was a fantastic cameraman and his early films show him finding his footing, foreshadowing the great films he would make later in his career. Here, his collaboration with the great cinematographer Sven Nykvist has its beginnings as we see some fantastic angles, mirror shots and uses of depth of focus and framing. The acting is terrific, particularly by Harriet Andersson, and the script supports the story well. A small gem, but nevertheless a gem from the great Swedish director Ingmar Bergman.
After experimenting with various genres and trying to find his niche in the late 1940s, Bergman slowly began to establish himself as the finest Swedish film director ever known. This film, released in 1953, reminds me in many ways of the great Federico Fellini's 1954 film La Strada, also about a circus troupe and also focusing on the relationship between the aging circus leader and his female companion. Despite this common ground, the two great directors differ in that Fellini turns his attention to the joy and zest of performing and the difficulties that still lie within. With Bergman, troubles always abound and there is no shortage of sadness and sorrow. Indeed, none of these characters are truly happy in the way of the definition. Yet, they continuously search for some sort of satisfaction and happiness. Life is a long, sluggish journey that may never find its ultimate goal.
Despite the downbeat tone, Bergman was a fantastic cameraman and his early films show him finding his footing, foreshadowing the great films he would make later in his career. Here, his collaboration with the great cinematographer Sven Nykvist has its beginnings as we see some fantastic angles, mirror shots and uses of depth of focus and framing. The acting is terrific, particularly by Harriet Andersson, and the script supports the story well. A small gem, but nevertheless a gem from the great Swedish director Ingmar Bergman.