While none of Ingmar Bergman's late-1940s films are among his best work, and more indicative of him still finding his footing, they are still very interesting and worth seeing. They didn't have quite the same amount of emotional depth, complexity and quality of production values and acting (those aspects were still very good, they were just even better later) of his work from the early-50s onwards. Yet they were still well made and intrigued, and with each film Bergman's style really grew.
'Port of Call' is nowhere near being one of Bergman's masterpieces and was produced in a very early period where he had not yet fully found his groove. Understandable though because it was only his fifth film as director. There are a lot of recommendable things about 'Port of Call' though and one can definitely see Bergman's style, visually and thematically, emerging. Actually think it is really quite impressive for such an early effort of his and is among one of his best late-40s films.
Sure, the story has a lot of melodrama, for my tastes a little over-heated and soapy on occasion (most of it was harrowing and poignant though), which gets in the way at times.
Occasionally, especially the middle, the pace could have been tighter.
Having said all of that, 'Port of Call' is very well made, with some beautifully framed and atmospheric photography done in almost semi-documentary style. Bergman's direction grew more confident with each film during this early period, and this is some of his most confident and more distinct directing from the period. It's hauntingly scored and thoughtfully scripted that shows a lot of maturity and surprising frankness. Of the uniformly strong acting, the powerful performance of Nine-Christine Jonsoon stands out.
Really admired how it dealt with heavy themes, some quite daring to depict on film back then and actually don't think it's tame today, and that it didn't trivialise any of them while portraying them sensitively. It is not easy exploring or depicting abortion in a hard-hitting way without risking controversy, but 'Port of Call' handles it well. The story may have melodramatic moments and is quite ordinary in terms of it not having an awful lot new, but it is also moving and suitably bleak. The characters feel real as do their situations.
Altogether, very well done early Bergman. 8/10
'Port of Call' is nowhere near being one of Bergman's masterpieces and was produced in a very early period where he had not yet fully found his groove. Understandable though because it was only his fifth film as director. There are a lot of recommendable things about 'Port of Call' though and one can definitely see Bergman's style, visually and thematically, emerging. Actually think it is really quite impressive for such an early effort of his and is among one of his best late-40s films.
Sure, the story has a lot of melodrama, for my tastes a little over-heated and soapy on occasion (most of it was harrowing and poignant though), which gets in the way at times.
Occasionally, especially the middle, the pace could have been tighter.
Having said all of that, 'Port of Call' is very well made, with some beautifully framed and atmospheric photography done in almost semi-documentary style. Bergman's direction grew more confident with each film during this early period, and this is some of his most confident and more distinct directing from the period. It's hauntingly scored and thoughtfully scripted that shows a lot of maturity and surprising frankness. Of the uniformly strong acting, the powerful performance of Nine-Christine Jonsoon stands out.
Really admired how it dealt with heavy themes, some quite daring to depict on film back then and actually don't think it's tame today, and that it didn't trivialise any of them while portraying them sensitively. It is not easy exploring or depicting abortion in a hard-hitting way without risking controversy, but 'Port of Call' handles it well. The story may have melodramatic moments and is quite ordinary in terms of it not having an awful lot new, but it is also moving and suitably bleak. The characters feel real as do their situations.
Altogether, very well done early Bergman. 8/10