If it seems that after Persona (1966) the film that was
Swedish bookstores were to also see the publication of the erotic poem En
Ingmar Bergman relates that "Strindberg's way of experiencing women is
It could be seen that the scene is a reworking of the wearing of the
The concluding shots of the actress on stage are much like the shots of Max
In the first drafts of The Seventh Seal, of
Bergman, in regard to the double exposure scene in Personna, writes
During the interview, Stig Bj?rkman remarks upon Persona being shot
There is something, no matter how unintentional, that can metaphoricaly
Fredrick Sands writes about having interviewed Greta Garbo in 1977, "The
It is by being integral to, an element of the
Victor Sj?str?m had
In the film Ingmar Bergman Makes a Movie (Ingmar Bergman gor en film, 1963), Vilgot Sjöman begins with a brief synopsis of the film Winter Light before his interviewing director Ingmar Bergman. Bergman discusses his use of complete silence in the film, a silence that has fallen upon the character. He explains the use of the actors' eyes in the film. Edited into the film is behind the scenes footage, including numerous shots of Ingrid Thulin trying on various pairs of glasses. Sjöman shows Bergman filming and his methods of blocking, "The faces and the dialogue are to tell the whole story." Sjöman's camera films Bergman's tightly enough to fill half the screen with the same shot as Bergman's from a different angle. Sjöman then interviews Bergman during the postproduction of the film, "You always cut during movement. That way the flow isn't interrupted."
All of the films of the Winter Light trilogy, Through a Glass Darkly (Sasom i spegel, 1961), Winter Light (Nattvardsgasterna, 1963) and The Silence (Tystnaden, 1963), were photographed by Sven Nykvist and scripted by director Ingmar Bergman.
Katherina Farago was the script girl for to Ingmar Bergman's The Silence, which in fact only briefly opens silently with Gunnel Lindblom and Ingrid Thulin in a train compartment, both exhausted, the camera panning up on Gunnel Lindblom's tightly-fitted gown and curved body. As a sex-symbol, she has been deppened by the emotion of being drained, presumably from a journey. The metaphor of their being exhausted is kept intact by the camera shifting to the next interior, where, contrastingly, she crosses the set almost to avoid the camera, it briefly filming her from the knees down as she is waling, it near obliquely avoiding that she is in a dressing gown that outlines her movement. If , thematically, the mirror introduced early in the film is an objectification of
One of the assistant directors to the concluding film of Ingmar Bergman's Winter Light trilogy, The Silence, was Lars Erik Liedholm, who directed the 1965 film June Night (Juninatt), photographed by Gunnar Fischer and written by Bengt Söderbergh. The film stars Bibi Andersson, Lennart Svensson, Vera Graffmann and Lena Hedström. Harry Schein appears on screen in the film.
Jörn Donner began making films in Sweden during 1963 with Sunday in September (Sondag i september and To Love Att alska (1964). Both films were to star Harriet Andersson. Donner, after making two more films in Sweden, then went to Finnland to direct, beginning with Black on White (Mustaa valkoisella 1967). Harriet Andersson starred with actresses Marrit Hyattinen and Marja Packalen in the Jön Donner film Anna (1970). Jörn Donner recently was present at the Midnight Sun Film Festival, held in June of 2004.
Hasse Ekman in 1963 directed My Love is a Rose (Min kara ar en
Jan Troell was behind the camera directing Max von Sydow during 1964 with the film Stay in Marshland (Uppehall i myrlandet). Karin Falk began in film as a director in 1964 with the film
Having written two plays during Bergman's period of Wild Strawberries and The Seventh Seal, in 1964 actress Eva Dahlbeck began publishing novels with Home to Chaos (Hem till kaos). In 1965 she followed with the novel The Last Mirror (Sista Spegeln), in 1966 with the novel The Seventh Night (Dem sjunde natten) and in 1967 with the novel The Judgement (Domen).
Based on the writings of Agnes von Krusenstjerm, Loving Couples (Alskande par, 1964) brought Harriet Andersson, Gunnel Lindblom, Gio Petre, Inga Landgre, Anita Bjork and Eva Dahlbeck to the screen under the direction of Mai Zetterling.
Bo Widerberg, author of the novel Autumn Term and the collected short
Inger Taube also starred in Bo Widerberg's film Karlek 65, which was
Not only did Jan Troell in 1962 co-direct and photograph the the film A Boy with His Kite (Pojeken och draken), starring Bodil Mathiasson and Ulla Greta Starck, with Bo Widerberg, who wrote its manuscript, but Troell directed, wrote and photographed several other short television films, including Summertrain (Sommartag, 1961), New Years Eve in Skane (Nyar i Skane), The Ship (Baten), The Old Mill (De gamla kvarnen, 1964), again starring Bodil Mathiasson, and Spring in the Pastures of Dalby (Var i Dalby hage).
In the film Elvira Madigan, Bo Widerberg's more obtrusive camerawork is
The director Ake
1966 also brough Christer Banck to the screen in the title role of Peter Kyllberg's film Jag. Also in the film are Tove Waltenburg, Agneta Anjou-Scram and Magaretha Bergström. The screenplay to the film was written by its director.
In his book I Was
I Am Curious Blue begins with there being actresesses interviewed by a film director, and then cuts to a group of women filmed in alternate close ups during a discussion on sex. There is a shot of two women in near profile in closeshot, one in the foreground of the shot, the other also in profile behind her within the same frame. Sjoman zooms on one of the women during a group shot of the women together. Intercut are scenes of him in a theater watching the rushes with Lena Nyman, who is then seen with him behind the camera. She begins being filmed in Stockholm's Tidninggen, near the water, wearing a tight skirt in profile, it almost being a mini-skirt. As to foreshadow, Sjoman, who often appears on the screen as an actor playing the director of the film, says, "A love scene without consequences would be pointless." The film almost cuts too quickly to a scene where Nyman is seen in bed with her lover before their both orgasming and quietly on a pillow in the darkened room with him in a post coital moment. The two wait to get dressed during their conversation, their being nude together as they talk possibly seeming prolonged compared to the legnth of the previous scene where they were in bed. The next scene begins with exterior shots of her kept in an introspective voice-over narrative, the scene itself being filmed mostly in a church and during a discussion on marriage, particularly in the churches of Sweden. It may seem as though the character is encountering what she sees as complacency within a culture then aspiring toward being moderately liberal, and yet this itself is for character interest, almost to where the actress in the film is kept too far from her sexual fantasies during the story line, and kept from disclosing them in as much as the plotline keeps it to the periphery. The story line is often kept minimal during the film, as though condensed as it follows Lena throughout its locations and yet the nudity is not entirely placed as being gratuituous be the film's being cenetered around her. Later, Lena Nyman is filmed at a lake in a nude swimming scene, her getting out of the water in full shot, in profile, the camera stationary as she moves in front of it. The camera is again stationary as she sits indian style by the waters edge. The scenes by the water are almost seperate from the scenes where she is making a film with Sjostrom. She is then filmed at what seems to be near dusk, watching two women making love, which ends abruptly as Lena leaves.
Hakan Bergstrom had directed Lena Nyman in her first film, Fargligt
Having directed Gio Petre The Doll (Vaxdockan) with Per
Before Hon Dansade en Sommar had been adapted to the screen by the
One of the most beautiful films to be shot in Sweden, although filmed with
For anyone who has seen her in film,