My comment above is not necessarily a criticism, but it is a fact that among the many films of Ingmar Bergman is a VERY high percentage of depression movies. Bergman seemed to revel in exploring the depressing and banal aspects of life--and this film is swimming in it! So, if you are looking for a happy film, avoid this one at all cost! But, if you can appreciate the masterful direction, then it's well worth seeing.
The film begins as a musician learns that his wife was just burned to death and his daughter burned terribly. As I said, it's NOT a happy-go-lucky film! The film then looks backward--seven years ago when the two joined the orchestra and began a relationship. It's interesting how adult all this is--even for a European film. Premarital sex, cohabitation, abortion and adultery are all discussed during the course of the film. Some of this is very good and I could appreciate it, but some also seemed in a deliberate effort to get the viewer to dislike the leading man (Stig Olin). He was a thoroughly self-absorbed artist who seemed to think that brooding and selfishness were necessary for the artistic temperament. As for his wife (Maj-Britt Nilsson), she put up with hell from this man through much of the film--and it was hard to see why. Now I can respect the film for being this daring, but it also makes the film a tough sell as most people just don't want to see films where it's so difficult to care about the characters. But, on the other hand, their acting and direction are so nice you cannot just dismiss the film.
By the way, one of Bergman's favorite actors, Victor Sjöström, is in the film in a great role as a gruff old conductor. At first, he's easy to dislike--but over time you see his character grown and morph into a guy who really helped give color to this film.
The film begins as a musician learns that his wife was just burned to death and his daughter burned terribly. As I said, it's NOT a happy-go-lucky film! The film then looks backward--seven years ago when the two joined the orchestra and began a relationship. It's interesting how adult all this is--even for a European film. Premarital sex, cohabitation, abortion and adultery are all discussed during the course of the film. Some of this is very good and I could appreciate it, but some also seemed in a deliberate effort to get the viewer to dislike the leading man (Stig Olin). He was a thoroughly self-absorbed artist who seemed to think that brooding and selfishness were necessary for the artistic temperament. As for his wife (Maj-Britt Nilsson), she put up with hell from this man through much of the film--and it was hard to see why. Now I can respect the film for being this daring, but it also makes the film a tough sell as most people just don't want to see films where it's so difficult to care about the characters. But, on the other hand, their acting and direction are so nice you cannot just dismiss the film.
By the way, one of Bergman's favorite actors, Victor Sjöström, is in the film in a great role as a gruff old conductor. At first, he's easy to dislike--but over time you see his character grown and morph into a guy who really helped give color to this film.