Sommarlek (1951)

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1. 

   Siskoid

   An aging ballerina (which is to say she's now in her late 20s) finds herself reflecting on an intense summer romance in Ingmar Bergman's Summer Interlude, even more intense in that it turns to tragedy, though functionally, it ends like most stolen season stories do. She grieves for a lost love, but for her lost youth, lost ideals, lost happiness, and because this is a Bergman picture, lost faith. And through that grieving, a certain catharsis, and perhaps a shot at bouncing back, or at least standing on iron toes, where the ballet metaphor takes shape. The romance, on one of those silver bodies of water affected by the director, is necessary context to her malaise, but is to me the least interesting thing in the film (give or take the small bit of animation!), a little wholesome and from an idealized point of view. But we are molded by our memories, and Marie (Maj-Britt Nilsson, adept at playing both ages) is more interesting as a result of those memories. 7 months 4 weeks ago
2. 

   Andrewski

   A beautiful love story and a reminder not to build walls around our hearts. 4 years 2 months ago

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