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Greta Garbo

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scottlord5 Modern Swedish Film

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Swedish film

Swedish Film 1946-1960

If it seems that after Persona (1966) the film that was made in Sweden was influenced more by the film One Summer of Happiness/She Danced Only One Summer (Hon dansade en sommar, 1951) with Ulla Jacobsson and Folke Sundqvist, it may only be that Persona was in particular to follow Bergman's Winter Light trilogy, during which he had worked with Vilgot Sj?man and, oddly enough, during which Par Lagerkvist published his religious trilogy, beginning with the novel The Death of Ahasuerus in 1960 and continuing with the novels Pilgrim at Sea (1962) and The Holy Land (1964); there are themes that connect some of Ingmar Bergman's films and those that can be seen in some way in almost all of his films- they are themes that find variation within the particular film in which they appear. Perhaps Dreyer anticipates Ingmar Bergman by writing, "Abstraction allows the director to get outside the fence with which naturalism has surrounded his medium. It allows his films to be not merely visual, but spiritual." Also in Swedish bookstores while the Winter Light trilogy was in theaters were The Destitute, written by Swedish author Birgitta Trotzig in 1957, and The Expedition, written by the Swedish author P. O Sundman in 1962. Eyvind Johnson during this period was writing primarily historical novels, notably, The Days of His Grace (Hans Naden Tid, 1960), and including Nag Steg Mot Tystnaden (1963) and Livsdagen lang (1964).

Swedish bookstores were to also see the publication of the erotic poem En Karleksdikt, written by Lars Forssell in 1960. The novel The Costume Ball (Kostsymbalen), written by Swedish Modernist Sven Fagerberg, appeared the following year, his then in 1963 having published the novel The Fencers (Svardfaktarna). Meanwhile, Sveriges Radio during 1960 produced the television film Ovader, directed by Ingmar Bergman and starring Mona Malm, Birgitta Gronwald, and Gunnel Brostrom. The assistant director to the film was Gertrude Bjorklund.

Peter Cowie likens the film Blue Week (Sininen vikko, 1954) directed in Finnland by Matti Kassila, thematicly to Bergman's Summer with Monika and Summer Interlude, his even going so far as to compare its photography, filmed by Osmo Harkimo, to that of Gunnar Fischer. Seminal to Swedish cinema, A Crime (Ett Brott, 1940), directed by Anders Henrikson with Edvin Adolphson and Karin Eckelund is distinguished as having brought the themes of marital complications to the screen. Strindberg writes, "The author must be bound by no definite form, for form is conditioned by the plot and the subject matter." Why themes of marriage are fitting subjects for literature is not merely because they are concerned with truth, as they particularly seem to be in the short stories of Strindberg, but also because they involve the character, known to himself and as participating in the drama of being individual. Writing in Film Quarterly, while reviewing Ingmar Bergman Directs by Emil Tornqvist, Sidney Gottlieb looks at Bergman's use of theme in a way similar to Strindberg. Although appreciative of Tornqvist's book and its examination of the theatricality of Begrman's films, Gottlieb cautions that Bergman's use of symbolism and abstracts shots that are seemingly, if not altogether, unconected to the narrative of the particular film, is not necessarily theatrical in a way contrary to the realism inherent in cinema, although Bergman may depend upon Strindberg, and possibly Ibsen. The author Maaret Koskin has added Carl Jonas Love Almqvist (The Queen's Diadem; Amorina, 1839) to the influences upon Bergman. A member of a mailing list had sent an e-mail this September announcing the publication of a new book by Emil Tornqvist entitled Bergman's Muses.

Ingmar Bergman relates that "Strindberg's way of experiencing women is ambivalent." An "obsessive worshiper of women" he examines them obsessively, "most clearly in Miss Julie where the man and woman never stop swapping masks." Why sadness depicted in film is beautiful at all is because it belongs to the individual, faced or confronted by the other character or characters; the over the shoulder, shot reverse shot dialouge scene more often than not can be used within the structure of storyline to connect character and theme. If the superimposure in Persona is metaphoric, it may be that characters build a relation to what is thematic and connect to it when with other characters. How a film is constructed aesthetically is often a matter of emotion, those emotions of the viewer in relation to the text and those of the protagonist, interpellated as subject through identification, it being the text that can bring about spectatorial positioning. Birgitta Steene views the film as being constructed around the two characters and their "withdrawl from life and identification with one another".

It could be seen that the scene is a reworking of the wearing of the theatrical mask, if not both the wearing and the removing of the mask, the thematic itself a mask untill both characters dissolve on the screen. In that the silence of God is not ostensibly reffered to during the film and the silence of the actress is, it being in fact a visual referrent, silence becomes a mask worn by the actress and a mask that could be worn by God as well. There is a shot early in Persona of Liv Ullmann in close up after the exit of the nurse, the camera stationary and her head motionless as the light changes during the shot; only when the room has become darkened does she move her head into profile-thematically the change in light is a similie for the putting on and taking off of theatrical masks as it slowly moves over her (it can only be a telescoped or subtle metaphor for orgasm or post-coital resolution the way it is filmed, despite its being a bedroom scene). Later in the film, Bibi Andersson nearly combines the silence of God and the silence of the actress by putting them both into question when she imploringly adresses that silence by claiming that artists create from and out of compassion, as does Bergman in the concluding montage sequence, in which the camera intercuts shot of Liv Ullmann as the actress on stage, in front of the camera with shots of Bibi Andersson silently leaving. The shots are dramaticly linked when cut togther and have a temporal continuity similar to the spatial continuity in the early close shot scenes.

The concluding shots of the actress on stage are much like the shots of Max von Sydow that conclude the Ingmar Bergman film The Magician (The Face, Ansiktet), the mask that Volger has removed toward the end of the film being that of the thespian, the relationship between the writer and society being a theme that is often central to the early films of Ingmar Bergman, a relationship that can be extended to the actor in front of the camera, if not to in front of the camera posited as a disembodied spectator.

In the first drafts of The Seventh Seal, of which there were five, Ingmar Bergman had written the role of the Knight (Max von Sydow) as having had been being silent, without dialouge. Death in the film, particularly after Bergman's having used the relationship between silence and a longing for belief or desire for faith as part of his characterization of the Knight, in many ways symbolizes silence and the unresponsiveness of the unknown, the game of chess a pursuit of something that is silent. Interestingly, Bergman on The Seventh Seal writes, "Bengt Ekerot and I agreed that Death should have the features of a white clown.", which leaves the question of whether it may in part only have its origins in Bergman's early aquaintance with silent film, whether the Knight is a medieval symbol not only of Death but also of art as a personification of the immortality of the artist in that art, after it has already been created, is silent- in being silent nothing can be added to it and it can have nothing to add.

Bergman, in regard to the double exposure scene in Personna, writes that it was while filming the monolouge, which to allow both characters to mirror each other appears in two forms, that it was decided to add to the screenplay the shot of both faces merging into one face, it being improvised but only so much as the screenplay had already been written. During an interview Liv Ullmann has said, "We did not rehearse at all." and that Bergman only rehearsed before each individual shot, his having seldom rehearsed before the shooting of any film. She as well explains that the double exposure was "an idea he had thought about during the shooting." During an interview with Torsten Manns, Ingmar Bergman related, "The girls didn't know I meant to do that. It was an idea that came to me while we were shooting...They didn't recognize their own faces...Yes, it was easy to put the corresponding light sides together because one half of the scene is in virtual darkness." Writing about the scene having been filmed twice, John Simon views it as being that, "This repetition shows two identities sharing the same consciousness in one happening in time." In outlining the scene, Simon looks to The Stronger by August Strindberg, "The Stronger is a problem play, and one cannot be sure which of the two women really is stronger. And so it is in Persona." He notes that there is an uncertainty on the part of the spectator as to what is taking place in the scene. In a subchapter on the later film of Ingmar Bergman, Stephen Prince notes that Bergman has filmed the narrative so that why the actress is silent is inexplicable, his remarking upon there subsequently being an emptiness between the two characters; in his advancing that the superimposure creates a fictional third person it may be that Prince, while observing the theater of the two onscreen characters and their two masks, at first neglects to note that Bergman has filmed the two characters in the third person, behind the camera as though a spectator.

During the interview, Stig Bj?rkman remarks upon Persona being shot mostly in close up and long shot, asking whether it was to contrast intimacy and detachment. Bergman replied that his decision to use close ups would often be contingent upon the content of the scene. Again discussing Persona, Bergman cautions, "But at the same time the long shot demands tremendous density and a hight degree of awareness. It must never be used at random."

There is something, no matter how unintentional, that can metaphoricaly connect the character portrayed by Liv Ullmann and our image of Garbo, the reticient Greta Garbo that had fascinated the world at a distance, that had fascinated it sexually both on screen and after having left Hollywood. (The island that is the background in the film Persona is in fact remote, it serving as a metaphor for isolation and withdrawl.) There is a mystery to the eroticism of Greta Garbo. Writing in 1974, Richard Corliss concludes his volume Greta Garbo with a brief section about her retirement from film, claiming that neither she nor the studio had expected it. About her being reclusive and her need for solitude, he writes, "she became the chief curator of her film image by staying completely as possible out of the public eye." Objectively, it is the author's interpretation of a legend, written before Garbo had begun to again give interviews, particularly the conversation published in Bunte Illustierte, a magazine from West Germany, and yet, still, in the chapter it is almost as though the author writes to Garbo, "the woman she is today."

Fredrick Sands writes about having interviewed Greta Garbo in 1977, "The Garbo I met still recoils at the sight of strangers...her shyness is not fiegned." She spoke fondly of Sweden and her hope that she might return. "She spends her days mostly walking, reading, waiting- 'I don't know what for.'" It is in keeping with earlier biographies that Sands mentions that her aquaintances would ask not to be quoted after having been interviewed. Sands gives the account that, "Garbo never answers the telephone at all unless she expects someone she wishes to talk to call her at a prearranged hour. Even then, she cannot be said to 'answer' the telephone: she simply picks up the reciever and waits for the caller to speak."

It is by being integral to, an element of the image, as in Cries and Whispers (Viskingar och rop, 1972), within the image as being in motion either toward the foreground or background of the shot or toward either sides of the frame, that each character can be "integrated in the landscape in a completely different way" (Stig Bj?rkman) and that a director can seperate them "out from each other and show their oneness, or lack of oneness, with the enviornment." (Bj?rkman). There are two adjacent shots during Cries and Whispers where Ingmar Bergman reverses screen direction. A voice over delivers the line, "I remember she would often seek the solitude and peace of the grounds." and as the woman on the screen is walking slowly through a park, in the first shot she crosses the screen from left to right, in the second, from right to left. In both shots she is kept in longshot, the angle of her movement as her white gowned figure crosses similar in both shots, and what has a particular effect is the height of the trees; they are framed so that their top one fourth is above the frameline, the grove she is in seeming to contain ancient silence, ancient hollow space.As the two shots are adjacent, there is a unity of space between them.

Victor Sj?str?m had cautioned Bergman to "Film actors from the front; they like that and its the best way." In The Scarlet Letter (Den roda bokstaven, 1926, nine reels), Sj?str?m introduces Lillian Gish by filming her frontally in medium shot, frequently using dissolves during the film. After her leaving the frame, the camera cuts to a medium shot of her in profile and then back to filming her frontally in a mirror shot of her deciding which hat to wear. It is almost as though Sj?str?m uses reverse screen direction between two characters when, after structuring the film by reintroducing Gish with a dissolve, she one moment is crossing the screen from right to left, the next momement Lars Hanson crossing from left to right. Charles Affron writes, "Seastrom redefines the space of the town square, making it an area successively filled and emptied, now a formal pattern with paths cleared, then serried with ranks of extras. The church, the town hall and the scaffold are other spatial elements that constitute the dynamics of the public drama." Remarking upon Sj?str?m's "sensitivity to landscape and texture", Affron looks to their being a "stylistic unity" to the film. Lillian Gish, in her book Dorothy and Lillian Gish, writes of her having seen The Story of Gosta Berling and that, "Mr. Mayer sent to Sweden for Lars Hanson, let me have Victor Sj?str?m, the great Swedish artist, as director and put it into my hands. I worked with Frances Marion on the script, and we made a successful film that is regarded as a classic to this day." Ingmar Bergman has said that when directing Sj?str?m; it had in fact been that he "drew his attention to the fact that he was playing to the gallery." When the film was reviewed in the United States, Sj?str?m was seen as "painstaking in his studying his characters" and that there were "some cleverly pictured scenes in the church and the sights of the crowds betray(ed) imaginative direction both in the handling of the players and in their arrangement to the shades of their costumes." There had been an earlier film adapation of the novel, The Scarlett Letter (1917, five reels) starring Mary Martin, Stuart Holmes and Kittens Reichert, directed by Carl Harbaugh. There is an account of Sj?str?m's shooting the exterior scenes to The Scarlet Letter, during which he climbed down from a platform after Stiller had announced he was there, Stiller then saying, "This is Garbo."; Stiller and her had met Warner Oland and his wife, Anna Q. Nilson earlier. Warner Oland later began the series of films featuring the Earl Der Biggers detective with Charlie Chan Carries On and The Black Camel, both made in 1931.

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 an inward journey or, an objectification of the distance from which she is from the mirror spatially as a metaphor for her presently being on a journey itself, it is one that is reiterated throughout the film, as thoug it were a knowingness on the part of Lindblom. In a tub, bathing, the shimmer of water reflected upon her is almost to bring her nudity to a double symbol, it only being then in the film that the exhaustion on the train could be symbolic of her having tried to make love to God only to be tired of its being both fulfillment and the conception of the unattainable, the silence between both women being that they have found something that has only been answered in their exhaustion. Now within a calmness, the water fairly still while she bathes, the smoothness of her nudity complemented by her emotion of having been soothed. She then lays on a bed filmed horizontally over the shoulder, the semi-nudity filmed quickly from shot to shot, in bed, the curve of her hip motionless. She again is seen bathing, washing her face in two brief shots, which are in reverse angle, the first a strait-on shot, the camera panning out of frame during the second shot. She again is in front of the mirror, briefly, but not coyly, the camera then following her movement. Later, again in front of the mirror she pivots while undressing. Then seen in the mirror, after its presence has almost been replace by the camera, she is shown in an over the shoulder shot, combing her hair, pivoting during a close-up follow shot. During a later dialougue scene, the camera shows her in an evening gown as she is sitting, it almost being that she is aware of her being voluptuous, it quickly cutting to a reverse angle only to abruptly introduce a legnthy dialogue scene filmed in close shot in near darkness. The scene is continued as both actresses are filmed with sidelighting in closeshot in an adjacent room; in that it has been acknowledged by both women that they have been part of each other's journey, the exhaustion from earlier that seemed to have been left behind now is replaced be a quickness as events hasten within the film's plotline. Gunnel Lindblom moves through the adjacent scene as sex symbol, filmed nude in profile in tight medium close shot, only her being seen in the darkened room. That the scene itself is nearly silent is only later punctuated by Thulin's voice pronouncing the name of composer of classical music. She again passes the mirror in a post-coital scene, it being kept by the stationary camera to the far right of the frame as she walks toward the camera, the camera then cutting to her being filmed over the shoulder.

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 ros) with Gunnel Lindblom and Gunnar Bj?rnstrand, the cinematographer to the film, Gunnar Fischer. The assistant director to the film, Christer Abrahamsen, later directed the film Drommen om Amerika (1976). Ekman followed by directing The Marriage Wrestler (Aktenskapsbrottaren, 1964) with Anna Sundqvist. Per G. Holmgren in 1963 directed Anna Sundqvist in the film Mordvapen till salu. Henning Carlsen directed his first film, Dilemma, in 1962, then following it with The Cats (Kattorna, 1965), photographed by Mac Ahlberg and starring Eva Dahlbeck, Gio Petre and Monica Nielsen, and with Hunger (Svalt, 1966) with Gunnel Lindblom. Swedish director Goran Gentele in 1963 returned Maud Hansson, who appears in Ingmar Bergman's film The Seventh Seal, to the screen in the film En vacker dag, the first film in which actress Inger Hayman was to appear.

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 Dreamboy (Drompojken), written by Bengt Linder and photographed by Tony Forsberg. Starring in the film are Lena Soderblom, Lill Lindfors, Eva Stiberg and Sven-Bertil Taube. Falk later appeared as an actress in the 1974 film Rannstensungar, directed by Torgny Anderberg and starring Anita Lindblom, Monica Zetterlund and Monica Ekman. Swedish director Kage Gimtell during 1964 brought actress Anna Sundqvist to the screen in the film Alsking pa vift, the first film in which actress Victoria Kahn was to appear on the screen.

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.

Jan Halldoff directed his first two films in 1965, Haltimma, starring Karin Stenback and Bo Halldoff and Nilsson, starring G?sta Ekman. Vera Nordin in 1965 directed the film Pianolektionen, photographed by Gunnar Fischer. Ingela Romare directed her first two films in 1965, Kyrie, the assistant director to the film Ingvar Skogsberg, and Mitt ar efter morbor. Ingvar Skogsberg directed his first film in 1965 as well, Jessica Lockwood, his following it in 1966 with Krypkasino med T.T. and Stinsen. Summer Adventure (Ett sommaradventyr, 1965), starring Margit Carlqvist, was directed by Hakan Ersgard and written by Ov Tjernberg. The Vine Bridge (Lianbron), starring Harriet Andersson and Mai Zetterling, was directed in 1965 by Sven Nykvist. The Ballroom (Festivitessalongen) was produced by Sandrew Film in 1965 and was directed by Stig Ossian Ericson, who appears in the film with Swedish actress Lena Granhagen, Georg Rydeberg and Gosta Ekman.

Bo Widerberg, author of the novel Autumn Term and the collected short stories Kissing, had directed his first film, The Pram (Barnvagnen) with Inger Taube in 1963, it being the first film in which Lena Brundin was to appear. His assistant, Roy Andersson would direct A Love Story (En Karlekshistoria) in 1970. During May of 2003, Andersson appeared at the Saga Theatre, Stockholm to introduce one of his films. Visiting One's Son (Besoka sin son, 1967) and To Fetch A Bicycle (Att hamta en cykel, 1968) were shown at the Rotterdam International Film Festival.

Inger Taube also starred in Bo Widerberg's film Karlek 65, which was the first film in which Eva-Britt Strandberg had appeared. Love 65 was photographed by cinematographer Jan Lindeström. That year Agneta Ekmanner, who appears in Widerberg's Love 65 as well, was seen too in her first film, Hej, directed by Jonas Cornell.

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 during the opening sequence, the two lovers in a meadow, his camera quickly zooming in to them after cutting from shots of a little girl with a flower. He only briefly keeps Pia Dagermark in over the shoulder before cutting to another angle of her; she is often kept in close up, his using shot legnth to return to her close up. Although the sequence is intercut with shots of the soldier's regiment, for the most part the two lovers are kept on the screen together in brief shots from varying camera positions. Again, in an interior that is their bedroom, her closeups are fairly brief, the camera panning during a shot during which there is a cut that is nearly imperceptible. His zooming into close shot is also quick. The actress later in a profile close shot, Widerberg pans out of frame and then quickly cuts back to the previous shot of her; on thier bed together, she is again in close shot, her left shoulder bare while being filmed by the camera. Later in close shot, he pans down to show that she is knitting and when she is finally looking into the camera during a recital, he cuts back and forth between her close up and other shots of the room. Panning out of frame from one character and into frame to show the other, Widerberg quickly articulates the space between characters, or between them and what they are looking at, almost swishing, his then continuing to use brief shots from different positions. Pia Dagermark recieved the award for Best Actress at the Cannes Film Festival, 1967. Nina Widerberg also appears in the film. The film was produced by AB Europa Film.

The director Ake Falk filmed Swedish Wedding Night (Brollopsbevsvar) in 1964 and in 1966 filmed The Princess (Princessan), based on a novel by Gunnar Mattsson, starring Grynet Molvig and Monica Nielsen. The film was photographed by Mac Ahlberg. In 1968, Falk directed Vindingvals with Diana Kjaer.The film is based on the novel by Arthur Lundkvist and photographed by Mac Ahlberg. In 1959 the director Olle Hellblom had brought Christina Schollin to the screen in Blackjakets (Raggare). Hans Abramson directed actress Christina Schollin with Harriet Andersson in Ormen-Berattelsen om Irene (1966), photographed by Mac Ahlberg for Minervafilm. Torgny Anderberg in directed her in the film Tofflan (1967). Torgny Anderberg in 1968 directed Anita Bjök in the film Comedy in Hagerskog (Komedi i Hagerskog). Based on a novel by Arthur Lunkvist, the film stars Ulf Brunnberg and Monica Nordqvist. Marianne Nilsson and Yvonne Norrman both starred in their first film in 1966, Den odesdigra klocken, as did Carina Malmqvist, daughter of the director Bertil Malmqvist.

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 Curious, diary of the making of a film, (Jag Var Nyfiken), Vilgot Sj?man offers daily entries during the shooting of a film that he hoped would " draw on the actors' own lives and ways of life for material." The girl in the film, portrayed by Lena Nyman, is "curious, lively, cute, with an extraordinary appetite for reality. She wants to know everything." Sj?man begins the diary with an account of a discussion he had had with Swedish film director Keene Fant, two scripts he had been writing, The Hotel Room and The Art of Breaking it Up and a script written by Kristina Hassrlgren that he had hoped to film, Bessie, and then continues to a dinner conversation with Ingmar Bergman where the two had discussed Sj?man's wanting to film with Lena Nyman. About the film, author Tytti Soila notes, "Most of its content was improvised and put together with the help of those who participated in the film," her calling it a "metafilm where the different planes of reality flow in and out of each other."

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 lofte (1955), that year her also appearring in the film Luffaren och Rasmus. Ms. Nyman appeared in the film Skenbart (2003), directed by Peter Dalle and starring G?sta Ekman, Anna Bj?rk and Kristina Tornquist, its screenplay having had been being penned by Lars Noren. She has also recently filmed under the direction of Colin Nutley. The films of Vilot Sj?man were screened of at the Festival du Cinema Nordique during the second week in March, 2004.

Having directed Gio Petre The Doll (Vaxdockan) with Per Oscarsson in 1962, Arne Mattsson also that year directed Eva Dahlbeck, Christina Schollin and Sigge Furst in Ticket to Paradise (Biljet till paradiset) and Anita Bjork and Lena Granhagen in Lady in White (Vita frun) . In 1963 he directed The Yellow Car (Den Gula bilen), starring Barbro Kollberg and Ulla Stromstedt and Yes He Has Been With Me (Det ar hos mig han har varit), based on a novel by Eva Seeberg and produced by Nordisk Tonefilm. Arne Mattsson followed in 1964 with Blue Boys. Arne Mattsson then directed Morianera (I the Body, 1965), a film which starred Eva Dahlbeck and Elsa Prawitz, A Woman of Darkness (Yngsjomordet, 1966) and Den Onda Cirkeln (1967), both which starred Gunnel Lindblom and Mordaren-en helt vanlig person (1967) with Allan Edwall.

Before Hon Dansade en Sommar had been adapted to the screen by the director Arne Mattsson, the Swedish author of erotic literature, Per Olof Ekstrom had published his first novel, En Ensamme, in 1947. Mattsson was later to pair the actor and actress of the film together for a second film.

Ulla Jacobsson and Folke Sundquist, along with Gio Petre, starred together in The Teddy Bear(Bamse, 1968). Bergman has said, possibly only softly, "Take a look at any of Arne Mattsson's films and you'll see how camera movmement replaces everything. What I call technique is knowing how to affect the viewer. And that's why its a wrong use of words to say that Arne Mattsson and Torbjorn Axelman are clever technicians." And yet it is particularly this that in the art film can be combined with narrative; especially beautiful is the scene where harpsicord is being played in Ann and Eve (Ann och Eve, 1971); especially beautiful is Marie Liljedhal, varying camera positions keeping her on the screen. One of the opening scenes to the film is an interior dialouge scene where she says, "All I know is that I love him and that's enough for me." and "I'm sure marriage isn't easy.". In the scene there is almost a dramatic use of space that carries their conversation and lends added significance to each line as it is delivered. To conclude the scene, Mattsson tightly films her in medium close shot from a low angle, her then pivoting during the shot to walk away from the camera in over the shoulder shot, it then cutting abruptly, almost before she is in medium shot. Marie Liljedahl has not yet been seen nude or semi-nude in the film. While in the opening scene the camera zooms into close shot on each character as they are looking at each other in two adjacents shots, one instance of an approximation of the feminine gaze later in the film is where both female characters in the scene are looking off camera toward another character as they discuss how much they might happen to know about him, Marie Liljedahl listening to Gio Petre without her eyes changing the direction in which she is looking.

One of the most beautiful films to be shot in Sweden, although filmed with black and white stock, Inga (Jag en oskuld, 1967) introduced Marie Liljedahl to audiences in the United States. During the film, there is a dialouge scene that takes place in a suana during which the is a beautiful shot of her that dollies back before she comes toward the camera. During an early scene of the film, characters are kept at a diagnal to each other, one in the foreground of the shot, the other in the background, during their conversation. There is then a cut to a scene during which Greta is sunbathing and reintroduced to a former lover. Marie Liljedahl enters the film by entering a living room from what appears to have been her bedroom, as though already dressed for bed, she had returned to say good night; in the film she is about to leave to meet Greta, who is her aunt. Characters during the early scenes often deliver lines at a diagnal to each other, but in close shot, one behind the other at their shoulders, almost off to the side, as they both face the camera.

Marie Liljedahl also appeared in the film Inga Two/The Seduction of Inga (Nagon att alska, 1971). Nearly titled Inga and Greta, the film was shot in part on location in Stockholm. The title sequence of the film opens with the camera dollying back on Marie Liljedahl about to get out of bed and then cuts to a shot of the camera panning up to film her in the shower in close shot, slowly beginning with a close shot of her feet, the water sliding downward on her skin and in front of the lens, it keeping her in near profile as it pans up to her nude hips and above them untill the actress is in close up. The camera then cuts to a shot of her dressing, as she puts on a pair of blue underwear and a flowered blouse as she is introduced by a voice over narrative. She is almost more beautiful filmed in color on the screen than in Inga during the first scens of the film, her long hair upon her shoulders framing her face, much as in the film Anna and Eve, which opens with a similar scene of the actress in a bedroom before getting dressed. She is demure with something reticient about her feminity as in the earlier film, there being a sensuality of her looking almost near the camera with her lips tightly closed and all expression left to her eyes. In an early scen she is shown in a retrospective narrative on her bed in a thin pink nightgown whith shots from the earlier Inga intercut, again with the use of a voiceover narrative, her questionin herself about her needing to be in love. She becomes the secretary for a writer of erotic novels, with whom she begins a romatic intrigue. She is exceptionally beautiful, quite possibly sultry shown making love, although only briefly on the screen, the curve of her hip and thigh in close shot. In a later scene she is again brought to the screen while making love, shown in close shot horizontally from only her shoulders to her knees. The director cuts to a post-coital scene to reveal her body more fully as she outs on a coat nude, in profile full shot, her shoulders pivoted so that the contour of her shoulder and outline of her breasts is within the frame, but the outline of her hips in three quarter profile is shot near over the shoulder, the back of her thigh toward the camera and her knees facing away from it as though hidden, the back of her calves toward it. In a later scene she is again filmed nude over the shoulder while dressing, her bending her knees to bring the camera and the beauty of movement into relationship, the actress silently graceful as the position of the camera waits during a stationary shot that ends a series of shots. The plotline of the film tightens as Inga is reunited with the novelist, who in turn is reunited with Greta, portrayed by Inger Sundh. It is brought to a near resolution with the line of dialougue, "Inga, I don't know what to say." She again dresses silently in front of the camera before Greta and Inga make love, their beginning noth on their knees, facing each other.

For anyone who has seen her in film, particularly of interest is her brief inclusion in a dialouge scene in Eva-den uttstotta. Shown in the United States as Swedish and Underage(1973), the film stars Solveig Andersson. During the film there is a dialouge scene where Ms. Andersson, in an attic, is trying on a hat in a mirror shot. The line delivered by Marie Liljedahl is "But I don't see a connection between them."

Torbjorn Axelman directed Essy Persson and Margareta Sjodin in Vibration (Lejonsommar, 1968), photographer by Swedish cinematographer Hans Dittmer. Like the film Inga, Therese and Isabelle is a film that can be cherished very much, it being the film that may have introduced her to most audiences in the United States. There is a scene where the Swedish actress is in bed alone begininng to orgasm that is particularly beautiful, filmed much like the scene in Gustav Mutachy's film Ectasy (1933) with Hedy Lamarr. There is also a later scene of the two women in bed together with a voice over poem included. Silently staring after having undressed before the two are in bed together and after, Anna Gael is stunning in the film, Essy Persson is hauntingly beautiful. Writing about the film, author Joan Mellen describes it as being a film in which, suprisingly, both female characters are sexually fulfilled. Writing well into the second half of the last century, she views the onscreen subject positioning of femininity more as the difficulty of creating the image of the liberated woman. She cautions that in regard to the films of director Ingmar Bergman in particular, this is represented by a presenting of female characters as principally being a biological entity in that their sexuality may be dependent upon a fraility, a fraility which then becomes the object of a voyeurism for the spectator, one film in which this curiousity on the part of the audience is sought being The Silence.

In 1966, Essy Persson had starred with Gunnar Bjornstrand in Trafracken, directed by Lars-Magnus Lindgren (the film was shown in the United States under the title Her Only Desire in 1969). In 1965, Ms. Persson appeared in the films Flygpan saknas and Operation Lovebirds(Sla forst, Frede!). Torbjorn Axelman directed Margareta Sjodin and Grynet Molvig in the film Hot Snow (Het sno, 1968), photographed by Hans Dittmer.

By 1974 Mac Ahlberg, who had directed Ms. Persson in I, a Woman (Jag en kvinna), was directing in Sweden under the name of Bert Torn with the films Swedish Sex Kitten (Flossie) and The Second Coming of Eva (Porr i Skandalskolan). Absolutely gorgeous, her face kept in medium close shot while she is orgasming under the direction of Joseph W. Sarno, Marie Forsa appeared in films that are nearly seminal to contemporary film-making, among those she appeared in being Ahlberg's film Molly (1977). Anne Magle (Anee von Lindberger) also appears in the film. Christa Linder and Marie Forsa both appeared in the film Bel Ami. Before having directed Marie Liljedahl and Marie Forsa, Joseph W. Sarno directed the films Sin in the Suburbs, The Love Merchant (1966), Come Ride the Wild Pink Horse (1967), The Love Rebellion (1967) and Scarf of the Mist, Thigh of Satin (1967).

Based on a novel by Gustaf Sandgren, ...som havet nakna vind, starring Lilemor Ohlson and Gio Petre, was directed by Gunnar Hoglund. In 1969, Claes Fellbom wrote and directed The Shot (Skottet, starring Diana Kjaer, his also that year directing Den vilda jakten pa linkbilen. The previous year Fellbom had directed Monica Nordqvist, Erik Hell, Ollegard Wellton and Lissi Alandh in the film Swedish Love Play (Carmilla), photographed by Ake Dahlqvist.

Both Stellan Olsson and Jonas Cornell directed films in 1969, It's Up to You and Hugs and Kisses respectively. Cornell also directed Agneta Ekmanner and G?sta Ekman in Like Night and Day (Som natt och dag). Stellan Olsson directed and co-wrote with Per Oscarsson the 1969 film Close to the Wind (Oss Emellan) starring Per Oscarsson, Barbel Oscarsson and Beppe Wolgers. Astrid Henning Jensen directed and co-wrote with David Richardson the 1969 film Me and You (Mej och Dej/Mig och Dig) starring Sven-Bertil Taube and Lone Hertz. Swedish film director Jan Halldoff appears on screen in the film. Torgny Wickman in 1969 directed the film The Language of Love (Ur Karlekens Sprak) with Maj-Briht Bergstrom-Walen, Solveig Andersson and Inge Hegeler. Inge Ivarson produced the film for Filmproduction Investment. Torbjorn Axelman that year directed Kameleonterna with Ulf Brunnberg, Mona Hakan and Monica Stenbeck. Behind the camera for the film was photographer Hans Dittmer. Goran Gentele in 1969 teamed Jarl Kulle and Gunn Wallgren, along with Meg Westergren, Per Oscarsson and Margareta Sjodin in the film Miss and Mrs. Sweden, scripted by Lars Forssell. Stig Lasseby in 1969 directed King Adil's Necklace (Sveagris), following it in 1970 with the film For sakerhets skull. Jarl Kulle wrote and directed the both the 1969 film The Bookseller Who Gave Up Bathing (Bokhandlaren som slutade bara) and the 1970 film Ministern, the Swedish actress Helena Brodin having appeared in both. In 1969 Gun Falck and Gunilla Iwanson appeared in a fairly beautiful film, Yes (Kvinnolek), shown in the United States as To Lisa My Love Ingrid, photographed by Ake Dahlqvist, his almost studying the contour of the nude bodies of the two women while they are together, in bed. The screenplay was written by Chris Tonner.

Although they include the film Anita (Anita- ur en tonrasflikas dagbok, 1973), which, directed by Torgny Wickman and photographed by Hans Dittmer for Swedish Filmproductions, starring Stellan Skarsgard, is in fact stunning mostly after its first fourty minutes, it including a bedroom scene between the two women characters and between the two lovers, the films of Christina Lindberg show an attempt to bring the complexities of erotic relationships to the screen, the erotic narrative within the development of character. Among them are Maid in Sweden which has a scene during which she is taking a shower filmed in slow motion in which she is exquisite. Nude in front of the camera, only the camera is in the room with her as the water flows down on to her bare shoulders; only the camera is watching her and it is only to the camera that her subjectivity is imparted. Young Playthings, with Christina Lindberg, Eva Portnoff and Margareta Hellstrom, is fairly imaginative and alothough not metaphorical, within the context of its storyline, it connects the characters as well as bringing them into fantasy. Its opening shots are of a dialougue scene as the two women are sunbathing nude, there then being a cut to an interior mirror shot of Ms. Lindberg combing her hair that is beautifully photographed; the dialougue scene is continued as the beginning of the film particular is photographed for glamour, a glamour that is only achieved by Ms. Lindberg's being in front of the camera and the look given by her eyes. The film begins a series of scenes that are fantasy interwoven into the story of the three women, their putting on erotic stage plays in between indivdual scenes of the film. In Jan Halldoff's film Dog Days (Rotmanad, 1970) Christina Lindberg is also photographed for glamour, her being more frequently kept in close shot, including a close shot that cutting with the camera tightly pans down to end the film by cutting to a brief mirror shot. There are scenes in the film where she is in full shot and long shot where if she is not only being filmed for glamour, then she is being photographed for nude glamour. In more than one of her films, she is given a character that is voyeuristic, held in close-up near a doorway. Spectatorship- a second looking through the viewfinder at the details that appear in the frame, the director having selected what the attention of the viewer will be brought to by allowing the camera to be authorial as it records the scene unseen- would include the look of the character as a metaphor for the camera, a character that as a voyeur would be intradiegetic. In that the erotic object is gazed at voyeuristicly, as the desire for pleasure, there nears an objectification of the erotic by the character on the screen, the spectator in the audience an observer of the emotion brought by the erotic. The temporal structure of the shots, the camera cutting back and forth between voyeur and erotic object as both experience pleasure and ectasy offer an immediacy, an instantaneity to the spectator, an event that is taking place within female subjectivity-the fantasies of the character, the fantasies of the character as they are fulfilled. Christina Lindberg also appeared with Ulrike Butz in the film Secrets of Sweet Sixteen (What Schoolgirls don't tell, Was Schulmadchen verschwigen, 1973) directed by Ernst Hofbauer. Ms. Lindberg enters the film midway through during an exterior follow shot of the three women, the camera tracking with the womenn and their conversation as they walk. There is later a shot of her on a bed on her knees as she is in profile with an accompanying shot of her nude stomach. Editing is used in the film to connect similar scenes, the body of an actress at a near dialgnal to the camera in the foreground of the shot, tightly framed on her back in only her underwear, later there being a scene where an actress is positioned nude, on her stomach, the camera cutting back and forth between close shots of her face and a close shot of her hips and below her waist. Although ostensibly a comedy by the time the film reaches its end, there are early scenes that seem indistinguishable from the narrative of a drama, or erotic drama, which are used to establish its black humor, its acting carrying the narrative: early fin the film a retrospective voice over narrative of Cornelia riding in a train is used to photograph the glamour, near haunting glamour, of her motionless face.Christina Lindberg wrote and directed the film Christinas svampskola.

The copy of Exposed (Exponerad, Gustav Wiklund 1971), starring Christina Lindberg and the actress Siv Ericks, seen by the present writer was in Swedish and had no subtitles.

Livet at stenkul (1967), directed by Jan Halldoff, was the first of only two films in which the actress Mai Neilsen appeared, it also having included the actor Keve Hjelm. Bengt Forslund and Bengt Ekerot both appear on screen in the film, as does Halldoff. Jan Halldoff's Korridoren (1968) was co-scripted by Bengt Forslund with Bengt Bratt, it having starred Mona Andersson, Agneta Ekmanner and Pia Rydwall and having been photogrpahed by Inge Roos, who that year co-directed the film Mujina with Goran Strindberg. Bengt Forslund also appears briefly in in the film Portratt av en stad (Halldoff, 1969), which starred Monica Str?mmerstedt and Lars Hansson.

Jan Halldoff directed The Office Party in 1971 and The Last Adventure (Det Sista Aventyret) in 1975.

In 1970, Torgny Wickman directed Kim Anderzon in The Lustful Vicar (Kyrokherden), based on the novel Nar det gick for kyrkoherdan by Bengt Anderberg. Anderzon also starred in the film Midsommardansen (1971), directed by Arne Stivall. Her daughter, Tintin Anderzon, appeared in Den attonde dagen (1979). Arne Stivall had directed Monica Eckman in Pappa Varfor ar du arg (1968). After More About the Language of Love (Mera ur karleckens sprak, 1970), starring Inge Hegeler and Maj-Briht Bergstrom-Walan in 1971 Wickman directed The Birdcall (Lockfageln) with Louise Edlind, Gunnar Bj?rnstrand and both includes the first onscreen appearances of actresses Marie Ekorre and Christine Gyhagen. Love 3 (Karlekens XYZ, 1971) had also starred Inge Hegeler and Maj-Briht Bergstrom-Walan. Ms. Bergstrom-Walan appearred with Kim Anderszon in the film Karlekens Sprak 2004, starring Regina Lund with Emma Torstensdotter Aberg, Helena Lindblom and Julia Klingener and directed by Anders Lennberg. Maj-Brit Bergstrom-Walan directed the film Att vara ta in 1972.

Gunnar Hoglund in 1970 brought Diana Kjaer, Sune Mangs, Lissi Alandh and Cia Lowgren to the screen in the film Do you believe in Swedish Sin? (Som hon baddar far han ligga). Vivian Gude would direct her first film in 1970, Longina, starring silent film actress Linnea Hillberg, Gret Crafoord and Lena Brundin. Gude also that year directed actress Kerstin Osterlin in her first film Den stora Salongen. That year Jeanette Swensson starred with Gudron Brost in De manga sangarna, written and directed by Bertil Malqvist.

Norwegian audiences in 1970 were viewing the film Shall we play Hide and Seek (Ska Vi Lege Gemsel?) filmed by Tom Hedegaard and photographed by Claus Loof. The film stars Eva Bergh, Helga Backer, Sisse Reingaard and Lykke Nielsen. In Denmark, director John Hilbard brought actress Birte Tove to the screen in the first of a series of film based on a novel by C. E Soyas, Mazurka pa Sengekanten, photographed by Erik Wittrup Willumsen. Also in the film are Anne Grete Nissen, Susanne Jagd and Jeanette Swenson. Birte Tove continued with the director in 1971 for the film Tandlaege pa sekanten and again in 1972 for the film Rektor pa sengekanten, both starring Anne Birgit Garde. In 1967, John Hilbard had directed Ghita Norby in the film Min Kones Ferie, photographed by Aage Wiltrup. Garbriel Axel during 1971 directed the actress in the film Love Me Darling/With Love (Med Kaerlig Hilsen) with Grethe Holmer, Lily Broberg and Ann Birgit Garde.

Although the film Komed i Hagerskog (Comedy in Hagerskog), starring Ulf Brunnberg may not have been the particular influence upon films that were to be made later, quite apart from erotic drama, and erotic romance that may have been honestly filmed as erotica but deemed to be an exploitation of the dramatic film in having been filmed for commercial screenings, the erotic comedy also quickly appeared more often in Sweden, Denmark and Germany, particularly glamourous actresses showcased on the screen within the erotic comedy. Although more of a film that would seem the exploitation of nude glamour than an erotic comedy, Love in 3D (Liebe in drei, Boos) brought Swedish erotic film actress Christina Lindberg together on the screen with actress Ingrid Steeger. Christina Lindberg is particulalry alluring in the film, which, filmed in Germany, was in fact screened to audiences in 3-D. Along with Ingrid Steeger, the actresses Rena Bergen and Evelyne Traeger can be included in the actresses that appeared in erotic comedies filmed in Germany. In Germany, actress Christine Schuberth appeared in two films during 1970, Das Glocklein unterm Himmelbett, directed Hans Heinrich, and Abarten der Korperlichen Liebe, directed by Franz Marischka. The films of Ernst Hofbauer are centered around actresses that are among the most intriguing and sensuous of nude glamour, including Elke Deuringer, Sonja Embriz and Marisa FeldyMarissa Feldy. Hofbauer directed the 1973 Fruhreilen Report.

Among the films screened in Sweden during 1972 was the film Provocation (Du gamla, du fria) produced by Pro Film AB and directed by Oyvind Falström. The films stars Marie-Louise Geer, Ann Charlotte Hult, Lena Svendber and Anki Rahlskog.

Bengt Forslund in 1973 wrote and directed the film Luftburen, which starred Olof Lunstrom, Margaretha Bystr?m and Solveig Ternstr?m. Forslund appearred briefly on screen in the film Keep All Doors Open (Halla alla dorar oppna, 1973), directed by Per-Arne Ehlin and starring Kisa Magnusson. Per Oscarsson in 1973 directed and starred in the title role of the film Ebon Lundin with Gudron Brost and Sonya Hedenbrett and Marie-Louise Fors. Jorn Donner in 1973 directed the film Baksmalla, starring Diana Kjaer, Lisbeth Vestergaard and Birgitta Molin. It was the first film in the which Swedish actresses Anita Ericsson, Christine Hagan and Irina Lindholm were to appear.

Peter Cowie writes that in the film A Handfull of Love (En handfull karlek, 1974), "She is indeed the character who matures throughout the film, and Anita Ekstrom's performance is a perfect blend of mindfullness and tenacity. Directed by Vilgot Sj?man and photographed by Jorgen Persson, the film also stars Ingrid Thulin and Eva-Britt Strandberg. In 1975 Vilgot Sjöman brought Agneta Ekmanner and Christina Schollin to the screen in the film Garagert, which also starred actresses Lil Terselius, Kerstin Hanström and Annika Tertow.

Theater audiences in Denmark in 1974 were to view the film I Tgrens tegn, directed by Werner Hedman and starring actreeses Sigrid Horne-Rasmussen and Susanne Breuning.

In 1975 Svenska Filmindustri produced the film The White Wall (Den Vita vaggen) starring actresses Harriet Andersson and Lena Nyman. Lasse Hallström that year directed the film A Lover and his Lass (En kille och en tjej) with Mariann Rudeberg and Catarina Larsson.

In 1975, Solveig Andersson starred in the first film directed by Mats Helge Olsson, I dod mans spar, with Isabella Kaliff. 1975 also brought Wide Open (Sangkamrater) to the screen, starring Solveig Andersson, Christina Lindberg and Gunnilla Ohlsson. The film was directed by Gustav Wickland. Solveig Andersson and Christina Lindberg both appear with Cia Lowgren in the film Swedish Wildcats (Every Afternoon, Nardet Skymmer), and on the one hand it is beautifully filmed with a plotline that develops changes in the characters as much as it does storyline; on the other hand there are short gratuitous scenes which should be edited from the film for viewing. Particularly beautiful is Cia Lowgren and there is a softness in the glamour of Solveig Andersson that is remarkable when compared to her earlier film roles. In the opening sequences there is a mirror shot during which the mirror is angled obliquely as the two women are brushing on eye shadow. There is then an instance of the female gaze as the camera cuts back and forth to show one actress looking at another as she is dressing. later in the film the two actress are shown in the same room in a series of alternating close shots in a scene during which the mirror is only seen toward its end. The glamour of both actresses is then balanced on the screen in medium close shot during their dialouge as the two actress in profile medium close shot are facing each other, the space between both characters being the center of the screen, both actress wearing a nightgown seen at their shoulders. The director Egil Holmsen, who directed his first film, Kampen om kaffet, in 1947, appears in the film Swedish Wildcats.

Mac Ahlberg, directing Marie Forsa as Bert Torn, combines voyeurism and spectatorship as he positions as subject her and her lover in a darkened room where there is what is apparently a 16mm film projector. After he threads the film, the camera cuts back and forth between shots of Marie Forsa facing the camera with the projector behind her, it backlighting her while a film is running, and shots of the erotic film being shown on the screen in which a couple are near a bed, undressing and beginning to make love. As the film runs her lover is behind her also watching and begins to seduce her, their making love during the film as they both face the screen, him behind her and the camera filming her being in front of him between him and the camera as she is begining to orgasm.

Justine and Juliette begins with two women walking down a country road, the sequence accompanied by a voice over narrative. Justine returns to her apartment, the two women having seperated. Ahlberg cuts back and forth between a near photographic essay of Forsa, on the screen under the name of Marie Lynn, nude in profile, alone in her apartment and shots of Justine making love being subject and the audience intentifying with it being that she is on the screen by herself and alone within the narrative as opposed to the couple together making love in the nearly juxtaposed complementary shots, in most instances it being that although reception within the theater takes places within the public sphere, movie viewing is individualistic; there is a visual representation of the first person narrative used in the novel in her being alone in her apartment being intercut with the couple making love, particularly in as much as it is an instance of foreshadowing. The tone of the voice over is accordingly introspective, there being a seriousness, one that is morose or doleful, that contrasts with Juliette's playfulness and frolicking. There then begins a transformation in Justine's character that is not allowed to retrun to showing her as being pensive. The two women reunite at an orgy where Juliette and another woman are making love. Justine is asked by someone there if she can be brought to bed in a sequence that was shot for the glamour of the nude and for its depiction of the erotic as romance. Her now in love, the camera superimposes close shots of her orgasming, her head dangling in mid air over the side of the bed in close shot as she arches her back, the scene followed by her lover photographing a scrapbook of her nude on the beach. A later scene cuts from close shots of her orgasiming to her nude in bed the next morning. From this her character again begins a transformation, toward becoming libertine, with Juliette entering the orgy as it is about to begin, Ahlberg depicting female gratification as Marie Forsa is present while another couple is making love, her beside them taking to them. In earlier scenes Alberg had cut back and forth between interspersed shots, near reaction shots, of a couple present at an orgy watching it take place, female desire now occuring by Justine centering on the couple during dialouge.

Leena Hiltonen appeared in two films under the direction of Joseph W. Sarno, Love Island (Karlekson, 1977) and Come Blow Your Horn (Fabodjantan), in which she starred with Marie Bergman.

Ewa Froling's first film, We Have Many Names (Vi har manga namn, 1976) was written and directed by the Swedish actress-director Mai Zetterling. The film was photographed by Rune Ericson. Jan Halldoff in 1976 brought Anik Linden to the screen in her first film Polare, starring Kisa Magnusson, Anne Nord, Inger Ellmann, Maj Nielsen-Blom, Ingela Sjostrom, Gunnel Wadner and Marrit Ohlsson.

Andrei Feher in 1977 wrote and directed the film Swedish Love Story (Karleksvirveln), with Ann Magle (Anne von Lindberg),Sonja Rivera, Mona Larsson and Eve Strand. Swedish actress Lena Olin, daughter of actor Stig Olin, in 1977 appearred with Tintin Anderzon in Viglot Sj?man's film Tabu. A showcase for Swedish film stars Gunnar Bjornstrand and Viveca Lindfors, the film also stars Anita Ekstr?m, Gudron Brost and Mona Andersson. Written and directed by Sj?man, the cinematographer to the film is Lasse Bjorne. Lena Olin appeared with Kristina T?nqvist and Irene Lindh in the film Hebriana directed by Bo Widerberg.

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scottlord5 Modern Swedish Film

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Swedish film

Swedish Film 1946-1960

The copy of Exposed (Exponerad, Gustav Wiklund 1971), starring Christina Lindberg and the actress Siv Ericks, seen by the present writer was in Swedish and had no subtitles.

Jan Halldoff directed The Office Party in 1971 and The Last Adventure (Det Sista Aventyret) in 1975.

Theater audiences in Denmark in 1974 were to view the film I Tgrens tegn, directed by Werner Hedman and starring actreeses Sigrid Horne-Rasmussen and Susanne Breuning.

Leena Hiltonen appeared in two films under the direction of Joseph W. Sarno, Love Island (Karlekson, 1977) and Come Blow Your Horn (Fabodjantan), in which she starred with Marie Bergman.

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Friends of the Library Book Sale

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The Friends of the Library are holding their fall book sale this week at the Central Library.

You can get incredibly good deals on new and used books, movies, and music and show your support for the Library!

Proceeds from the book sale help support library programs for adults and children, including the popular "museum membership" program which allows Somerville residents to visit local museums free or at a discount.

Thursday, October 22nd, 5 - 8 pm (Book Sale Preview, for members of the Friends who have joined at the $50 level or higher)
Friday, October 23rd, 2 - 4 pm
Saturday, October 24th, 10 am - 4 pm
Sunday, October 25th, 1:30 - 3:30 pm

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Friends of the Library Book Sale

via Somerville Public Library Blog by Ellen on 10/19/09

The Friends of the Library are holding their fall book sale this week at the Central Library.

You can get incredibly good deals on new and used books, movies, and music and show your support for the Library!

Thursday, October 22nd, 5 - 8 pm (Book Sale Preview, for members of the Friends who have joined at the $50 level or higher)
Friday, October 23rd, 2 - 4 pm
Saturday, October 24th, 10 am - 4 pm
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Re: doctor data

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Are you still looking for directories of US doctors or dentists? I have lots of US medical lists, let me know what you need and I will get you some more info, samples and a good price.

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swedish film 1946-1960

noreply@blogger.com (scottlord- Swedish Film and the Svenska Filminstitutet) — Fri, 23 Oct 2009 10:07:00 -0700

Swedish Film 1930- 1946
Swedish Film 1923-1930

Silent

Garbo

An e-mailed letter to the present author ends, "Many people in Sweden says that Greta Garbo is a main collector's item but the Garbo posters didn't fetch much interest." It was sent by a collector of movie posters who had been to the movie poster auction in Gothenburg, Sweden, which was held as part of the Gothenburg Film Festival, February, 2006. Included in the auction were two posters from the film A Two Faced Woman.

As there was speculation as to what script could possibly bring Greta Garbo back to the silver screen, as Eva Henning and Viveca Lindfors were being introduced to Swedish audiences and as Ingmar Bergman was laying the beginnings of a body of film that would secure him as the director that would circulate the films of the Swedish Film Institute into an international viewing, Ingrid Bergman was in the United States making the 1946 film Notorius with Alfred Hitchcock, her earlier having appearred in the film Dr. Jeckyll and Mr. Hyde (1941). It was also at this time that there would be a remake of Anna Karenina, starring Vivien Leigh and directed by Julien Duuvier.

From a script co-written by Birgit Tengroth based on her short stories, Three Strange Loves ( Thirst, Torst 1949), directed for Svensk Filmindustri by Ingmar Bergman and photographed by Gunnar Fischer, had starred Mimi Nelson, Eva Henning and Hasse Ekman. Birgit Tengroth also appears in the film. Hugo Bolander filmed as an assistant director with Ingmar Bergman and Oscar Rosander edited the film. Bergman writes that the film is in fact about a journey and that his aim was that the "complicated camera movements" be unnoticed by the audience; "you can see the seems if you look closely" (Ingmar Bergman). Bergman, during an interview with Swedish author Jonas Sima, had remarked, "I like Eva very much. She was an extraordinarily fine actress." Before Eva Henning appeared in The Banquet (Banketten, 1948), she had also appeared in Elvira Madigan (1943) and The Royal Rabble ( Kungliga patrasket, 1945) which also starred its director, Hasse Ekman. Ekman directed her with Alf Kjellin in 1945 in the film Wish on the Moon (Vandring med mannen). In 1947 she appeared with Sonja Wigert in his film One Swallow Doesn't Make A Summer (En fluga gor ingen sommar). Hasse Ekman had begun directing with With You In My Arms (Med dej i mina armar, 1940), the first film in which Elsie Allbin was to appear, it being followed by First Division (Forsta Divisionen, 1941) in which he and Lars Hanson starred. In 1942 he directed Ingrid Tiblad in Langor i dunklet and Marguerite Viby in Luck Arrives (Lyckan kommar). While comparing Swedish actresses of the thirties, Tytti Soila writes that Royal Dramatic Theater (Kungliga Dramatiska Teatern) "actors were easy to identify thanks to their inflated and stylized acting and above all-after the introduction of sound film- by their unnatural manner of delivering lines. Actors like Lars Hanson and Inga Tiblad never succeded in liberating themselves from this formal style of acting" Apparently this was not entirely to the dismay of Swedish audiences, as their films were still popular in Sweden.

In 1943 Hasse Ekman continued with the films Unexpected Meeting, Change of Trains (Om byte ar tage), with Sonja Wigert and The Sixth Shot (Sjatte Skottet), written by G?sta Stevens and starring Edvin Adolphson, Karin Ekelund and Gunn Wallgren. In 1944 he directed Lars Hanson again in His Excellency (Excellensen), with Gunnar Sjoberg and Erik Hampe Faustman as well as having directed A Day Will Dawn (En Dag Skall gry) with Edvin Adolphson for Sandrews Productions.

In 1946 the director filmed Nightly Encounter (Meeting in the Night/Mote i nattan) starring Eva Dahlbeck and When The Door Was Closed (When The Door Was Locked, Medan portan var stangd), all of which were films in which he had starred. Writing about the premiere of A Ship Bound for India (Skepp till Indialand, 1947), a film which had been based on a play by Martin Soderhjelm that had starred Gertrude Fridh, Ingmar Bergman describes a meeting with Hasse Ekman with "an unbelievably gorgeous Eva Henning at his side." The film was produced by Terrafilm.

Girl with Hyacinths (Flicka och hycintar, 1950) had again brought Eva Henning to the screen, it starring Anders Ek and directed by Ekman. The film is listed as being one of the favorites screenings of director Ingmar Bergman. Bordwell and Thompson, in a Bloglines RSS entitled Observations on film art and Film Art, blog that there are ten retrospective narrative scene-sequences in Girl with Hyacinths, but more notably relate that these retrospective narratives interlock. During the previous year Eva Henning had appeared with Hasse Ekman in his film The Girl From the Gallery/The Girl in the Third Row (Flickan fran tredje raden), which had also starred Maj-Britt Nilsson. Ekman directed the film for Terra Film.

She then made The White Cat (1951) (Den vita katten) with Gunnar Bjornstrand and Alf Kjellin and Gabrielle (1954), photographed by Gunnar Fischer and also starring Karin Molander, both of which films were also directed by Ekman. In 1948, Ekman directed Each Goes His Own way (Var sin vag) with Eva Dahlbeck and Gosta Cederlund and Little Marta Returns (Lilla Marta kommer till baka), produced by Terrafilm.

Viveca Lindfors began acting on the screen with the director Ivar Johanson in the films The Spinning Family (Snurriga Familjens, 1940), scripted by Torsten Lundquist and starring Annalisa Ericson, Imagine If I Marry the Vicar (Tank, Om Jag Gifter Mig Med Prasten), a Swedish Karleksdrama based on a novel by Ester Linden and starring Gudron Brost, Arne Mattsson the assistant director to the Swedish Karleksdrama, (1941) and The Yellow Ward / The Yellow Clinic (Gula Kliniken, 1942), with Anna Lindahl, Barbro Kollberg, Karin Kavli, Gull Natorp, Ruth Stevens and Mona Martenson. She then appeared with Birgitta Valberg in In Paradise (I Paradis, 1941) directed by Per Lindgren and with Gudron Brost in The Sins of Anna Lans (Anna Lans, 1943) a Swedish Karleksdrama directed by Rune Carlsten and photographed by Ernst Westerberg, it having been the first film in which actress Toivo Pawlo was to appear. Black Roses (Svarta Rosor, 1945), directed by Rune Carlsten, a remake of the earlier film, would star Viveca Lindfors with Eva Dahlbeck and Ulf Palme. G?sta Cederlund directed Lindfors in The Brothers' Woman (Brodernas kvinna, 1943), based on a novel by Ebba Richert and starring Britta Holmgren. The film was produced by Film AB Lux.

Eric Petschler, who had directed Greta Garbo in Sweden before she had travelled to the United States, appeared as an actor with Lindfors in the film Jag ar eld och luft (1944) directed by Anders Henrikson, the assistant director to the film G?sta Folke.

One of the first films that Arne Mattsson was to direct, Marie in the Windmill (Maria pa Kvarngarden, 1945) had starred Viveca Lindfors, it also featuring the daughter of Victor Sj?str?m, Guje Lagerwall, as well as Edvin Adolphson, Irma Christensen, Linnea Hillberg and Rune Carlsten. In 1946, Lindfors starred with the director Hasse Ekman in his film (In the Waiting Room of Death(Interlude/I dodens vantrum) which had been based on a novel by Sven Stolpes, the assistant director to the film Bengt Ekerot. Like Greta Garbo she later came to the United States to make film. Among those in which Lindfors had appearred were The Adventures of Don Juan (1948) and The Raiders (1952). Swedish Film actress Mai Zetterling would decide upon England. Before later returning to Sweden, she appearred in several British films, the first of which, Frieda (1947), her performance having had been being under the direction of Basil Dearden. In 1948, Mai Zetterling was to appear in Terence Fischer's Potrait from Life, her then having appeared in the films The Bad Lord Byron (Macdonald), The Lost People (Knowles) and The Romantic Age (Greville).

Having read the script to the adaptation and having agreed to make the film,in 1949 Garbo made a thirteen minute screentest in black and white for La Duchesse de Langeais shot by William Daniels and James Wong Howe.

"I thanked him by leaving for Svensk Filmindustri, where Gustaf Molander had meaninwhile made a film out my original screenplay, Woman without a Face." Filmed under Victor Sj?str?m, the cinematographer to Kvinna utan ansikte (1947), scripted by Ingmar Bergman, was Ake Dahlqvist. The film stars Alf Kjellin, Gunn Wallgren, Anita Bj?rk and Marianne Lofgren.

Photographed by Goran Strindberg and directed by Alf Sj?berg, Miss Julie (Froken Julie, 1950) begin with a series of exterior shots, often cutting in close up shots with long and full shots, almost as though to supplant the establishing shot with the use of an entire scene before it introducing two initially minor characters in a kitchen by showing the title character, potrayed by Anita Bj?rk, evesdropping on them. He uses a horse drawn carriage to connect the interior dialouge of the one-act play to the open countryside, using long shots from different camera positions. As the film continues, Sj?berg uses statues and a lake during exterior shots of a garden to connect the characters to the landscape , which can nearly seem pastoral as the film begins to depend more and more upon the dramatic acting of Bj?rk. The film then shifts to a legnthy interior dialouge scene as the two characters decide whether to leave the country and begin again together. The film concludes by Miss Julie being last seen in an exterior reestablishing shot. While writing about The Road to Heaven (Himlaspelet), Cowie attributes S?berg as being a director that "could reconcile the alfresco scope of the cinema" with the compressed acting and dialouge that comprises the playwright's articulation of the visual on the stage. Sj?berg had in fact returned to the theater after having directed Anders Henrikson The Strongest (Den Starkaste, 1929). Author Peter Cowie goes so far as to write, "But during the thirties Sjöberg was ostracized by the film industry. So keen was the appetite for frivolous domestic comedies that a director of Sjöberg's intent incongruous at the studious." Examining Sj?berg's adaptation of the Strindberg play, Tytti Soila views the subject positioning of the Anita Bj?rk character as the use of the theatrical within film to structure the look of the character, "The object of her desire is her possibility of knowing and the consequences of knowledge: more than sexual satisfaction and love, the drama is about acquiring sexual experience and knowledge about sex." Ostensibly, the feminine gaze as a desire to acquire knowledge about sexual relations is also thematic in Vilgot Sj?man two films I am Curious Yellow and I am Curious Blue. The film Home from Babylon (Hem fran Babylon, 1941), starring Gerd Hagman, marks the beginning of Alf Sjoberg's return from the theater to to film . Alf Sj?berg directed Maj-Britt Nilsson in her first film, Journey Out (Resanbort, 1945), photographed by Martin Bodin and starring Gunn Wallgern and Hjordis Petterson. In 1946 Sjöberg paired Mai Zetterling and Alf Kjellin in Iris and the Lieutenant (Iris och lojnantshjarta). Froken Julie was produced by noted author and film historian Rune Walderkranz for A B Sandrew.

After filming Sonja Wigert in And All These Women (...och alla dessa kvinnor, 1944) Arne Mattsson continued directing in 1945 with the comedy Sussie, written by S?lve Cederstrand and starring Gunnar Bj?nstrand and Marguerite Viby and the films Incorrigible (1946) and Bad Eggs (Rottagg, 1946), scripted by Sven Zetterström and photographed by Sten Dahlgren and starring Marianne Lofgren, Ingrid Backlin, Harriet Philpson and Elsie Allbin. In 1946 Arne Mattsson also directed Gunnar Bjornstrand in the film Peggy pa Vift, starring Gunnel Brostrom and Marguerite Viby, and, in 1947, followed with the film Father Wanted (Pappa sokes), starring Gunnar Bj?nstrand and Sickan Carlsson.

1946 was to mark the film Det eviga leendet being on the theater marquees in Sweden, it being the film that would introduce Eva Lombard. The film was written and directed by Lars Eric Leidholm and starred Barbro Hogstadius. Eva Dahlbeck that year appearred in Rolf Husberg's film Love Goes Up and Down/Love and Downhill Skiing (Karlek och stortlopp), starring Agneta Lagerfelt, Signe Furst, Hjordis Petterson and Karin Miller in her first on screen appearance. Agneta Lagerfelt would also that year appear in Rolf Husberg's film Evening at Djurgarden (Djurgardsikvallar), phototographed by Julius Jaenzon and starring Ingrid Bjork, Naima Wifstrand and Emy Hagman as well as the film Kvinnor i vantrum, directed by Gösta Folke, written by Solve Cederstand and photographed by Eric Blomberg. The film stars Britta Holmberg, Anna Lindahl and Solveig Lagström. Eic Blomberg that year was also the cinematographer for the film Wedding at Sun Island (Brollopet Pa Solo), directed by Ivar Johansson and starring Rut Holm, Emy Hagman and Sibrit Molin in what was to be her first appearance on the screen. Nils Poppe in 1946 would direct The Balloon (Ballongen), with Marianne Aminoff, Inga Landgre, Marianne Lögren, Ingrid Borthen and Marianne Gyllenhammar. Schamyl Bauman that year directed the film Saltwater Spray and Tough Old Boys (Saltstank och Krutgubbar) photographed by Sven Nykvist and starring Irma Christensen, Gull Natorp and Inrid Ostergren.

Finnish film director Teuvo Tulio directed actress Regina Linnanheimo in two films during 1946, The Cross of Love (Rakkauden risti/Karleckens kors) and Restless Blood (Levoton veri/Orolist blod). He followed in 1947 by directing her in the film In the Grips of Passion (Intohimon vallasa/I ledelsens famn). Finnish actress Helena Karan that year appeared in the film Ruined Youth (Tuhotto nuoruus), directed by Hanu Leminen.

Ake Ohberg in 1948 directed Where the Wind Blows (Dit Vindarna Bar), the first film in which Ingrid Thulin was to appear. In the film are also George Fant and Eva Strom. Elof Ahrle that year directed Livet pa Forsbyholm, photographed by Julius Jaenzon. That year Gosta Werner directed Maj-Britt Nilsson in The Street (Gatans). Arne Mattsson that year directed the film Dangerous Spring (Farlig var). Erik Hampe Faustman in 1948 directed Eva Dahlbeck in the film Lars Hard and George Fant with Illona Weiselmann in the film Foreign Port (Fremmande hamn/Strange Harbor). Anders Henrikson in 1948 directed Eva Dahlbeck in the film The Girl From the Mountain Village (Flickan fran fjallbyn).

Photographed by Gunnar Fischer and edited by Oscar Rosander, Port of Call (Hamnstad, 1948) starred Nine Christine Jonsson as the central character in a script written by Olle Lansberg titled The Gold and the Walls, the film "shot on location in Gotheburg, with interiors at the SF studios in Stockholm" (Peter Cowie) where the camerawork of Bergman begins showing not only the enviornment in which the characters find the situations that emerge around them, but also what may isolate the character while involved with the development of plotline events as he or she develops as character. Also in the film are Bergit Hall, Mimi Nelson, Birgitta Valberg and Britta Billsten. Jorn Donner remarks upon Port of Call as being noteworthy for its "unsentimental tone" in regard to the narrative and its exposition of storyline, and for there being a uniformity to the style in regard to the technique used in the film. In Images, Ingmar Bergman writes that he tried to include as many exteriors as he could in order to create something new with Swedish cinema that would include the use of realism. Jorn Donner in fact attributes the film with having brought a realism to its character portrayal and goes so far as to invoke the camerawork of Stiller and Sjostrom in that Bergman uses the enviornment to bring the development of its characters to the depth that ends the film.

In 1949 Arne Mattsson directed Victor Sj?str?m in The Railroad Men (Rallare), based on a novel by Olle Lansberg. It was photographed by Martin Bodin who had worked with Arne Mattsson on the film A Guest Came (Det kom en gast, 1947) with Sture Lagerwall and Anita Bj?rk. Mattsson again directed Sj?str?m in Hard klang (1952) with Margit Carlqvist and Edvin Adolphson and Men in Darkness (Mannen i Morker, 1955). In 1949 he also directed Woman in White (Kvinna i vitt) with Mimi Nelson and Eva Dahlbeck.

In her autobiography, All Those Tommorows, Mai Zetterling writes, "Music in the Dark was to be my first and last picture with Ingmar Bergman directing. It was in 1947...Music in the Dark was basically a sentimental love story about a man who goes blind through an accident and a young girl who falls in love with him. What Ingmar was interested in was the man's loss of identity, his lonliness and his despair." She continues candidly and with all kindness to describe her relationship with Bergman as an actress at that time as not having brought enough to her performance and that she looked to Alf Sj?berg for inspiration. Musik i Morker (Night is My Future) was photographed by Göran Strindberg and stars Hilda Borgstr?m, Gunnar Bj?rnstrand and Birger Malmsten. Jorn Donner writes, "Compared with Port of Call, Night is My Future seems to be an almost completely commercial film. In his autobiography Images, Bergman writes that he had in fact directed the film with the thought of it being enjoyable to watch

Theaters in 1947 were to see the script writing of Rune Walderkranz, cowriting with Ragnar Arvedson on a film that Arvedson co-directed with Schamyl Bauman, Maj pa Malo, photographed by Sven Nykvist and starring Inga Landre. Rune Waldekranz that year produced the film Life in the Finn Woods (Livet i Flunskogarna), directed by Ivar Johansson and phtographed by Eric Blomberg. Starring are Sigbrit Molin, Barbro Ribbing, Mirjami Kuosmanen and Nine-Christine Jonsson. It was also the year that Song of Stockholm (Sangen om Stockholm) , would be shown on the theater screens of Sweden. Directed by Elof Ahrle, the film stars Hilda Borström, Alice Babs, Karin Swenson and Marianne Gyllenhammar. Audiences would also be reintroduced to actress Eva Dahlbeck, who appeared in the film The Key and the Ring (Nyckeln och Ringen), under the direction of Anders Henrikson. The film was photographed by Harald Berglund and scripted by Swedish silent film screenwriter Bertil Malberg. Also starring in the film were Aino Taube, Ulla Sallert, Hild Bögström and Maj Töblad. Henrikson would again direct Eva Dahlbeck in 1948 in the film The Girl from the Mountain Village (Flickan fran fjallbyn), photographed by Bertil Palmgren and written by Sven Gustafson. The film also stars Kerstin Holmber and Sif Ruud. Inger Juel would appear in her first film in 1947, The Most Beautiful in the World (Det Vackraste Pa Jorden), also directed by Anders Henrikson and starring Marianne Lofgren. Gosta Bernhard directed his first two films in 1947, 91:an Karlssons permis and En sommarweekend. Sture Lagerwall went from actor to director with the film Here We Are Coming (Har kommer vi) in 1947, scripted by Torsten Lundquist, Greta Garbo biographer Fritiof Billquist and Marianne Aminoff having appeared in the film. The film was co-directed with actor John Zacharias, as was the film I Love You, Karlsson (Jag Elskar Dig, Karlsson) in which he starred with Marguerite Viby, Viveca Serlachius, Solveig Lagstrom and Linnea Hillberg. The cinematographer to the film was Rudolf Frederiksen. Lagerwall appeared as an actor in Gunnar Skoglund's film How to Love (Konsten att alska, 1947) with Wanda Rothgardt and in Bengt Palm's film The Night Watchman's Wife (Nattvaktens hustru, 1948) with Britta Holmberg, a film which was produced by AB Centrumfilm. Gosta Folke that year directed Maj-Britt Nilsson in the film Maria. Stig Jarrel in 1947 directed and appeared in the films Evil Eyes and The Sixth Commandment (Sjatte Budet), which also starred Ingrid Backlin and Gosta Cederlund. Lars-Eric Kjellin directed his first film that year, Don't Give Up (Tappan inte sugen), starring Ulla Sallert and Annalisa Erickson and photographed by Gunnar Fischer. Eva Dahlbeck that year appeared in the film Two Women (Tva kvinnor), directed by Arnold Sj?strand. Eric Hampe Faustman in 1947 directed the Viking-medieval adventure film Harald the Stalwart (Harald Handfaste), with George Ryderberg and George Fant. Anita Bj?rk that year appeared in the film No Way Back (Ingen vag till backa), written and directed by Edvin Adolphson. Ragnar Arvedson that year directed Edvin Adolphson and Karin Ekelund in the film Dinner for Two (Supe for tva), with Mimi Pollack, it having been the first film in which actress Ann-Mari Wiman was to appear. Swedish actress Monica Nielsen appeared in her first film in 1947, Kvarterets Olycksfagel directed by P. G. Holmgren with Ella Lindblom and Lillemor Appelgren.

The following year, Gustaf Molander continued directing with the film Life Starts Now (Nuborjar livet, 1948), photographed by Ake Dahlqvist, edited by Oscar Rosnader and written by Rune Lindstrom and starring Wanda Rothgardt and Mai Zetterling. The Trumpet Player and the Lord (Trumpetar och Var Henne), a film written by Ingmar Bergman was became an opportunity for he and Gustaf Molander to script the film Eva (1948), directed by Molander and photographed by Ake Dahlqvist, with Eva Stiberg in the title role supported by Swedish actresses Hilda Borgström Wanda Rothgardt and Inga Landgre. Erland Josephson and Stig Olin play to Birger Malmsten in the film. In 1949 Molander directed Love Will Conquer (Karleken Segrar), scripted by G?sta Stevens, with Ingrid Thulin. Egil Molmsen in 1948 would direct Ingrid Thulin and Gerda Landgren in the film Kann dej som hemma. The very beautiful Else Fisher was introduced to Swedish movie goers in 1948 in the film Stanna en stund, directed by Alex. Jute and photographed by Sten Dahlgren. In 1952, she appeared with Yvonne Lombard in the film Bom the Flyer (Flyg-Bom).

Gunnar Hogland directed the film Vi bygger framtiden with Ingrid Thulin in 1949. Both Eva Dahlbeck and Max von Sydow that year appeared in the film Only a Mother (Bara en mor), adapted from a novel by Lo-Johansson, photographed by Martin Bodin and directed by Alf Sj?berg. The film was the first film in which actresses Sonja Rolen and Margaretha Krook were to appear. Mimi Pollack also appears in the film. Bara en mor is listed by the Ingmar Bergman Foundation as being among one of the most liked by the director. The Woman Who Disappeared (Kvinnan som f'rsvann), directed by Anders Angström and photographed by Bertil Palmgren in 1949, starred Inger Juel and Cecile Ossbahr. Arthur Spjuth that year wrote and directed his first film in 1949, Bohus Bataljon, codirected by S?lve Cederstrand, it starring Greta Garbo biographer Fritiof Billquist. After having directed his royal majesty Gustaf V. Kung av Sverige in the film Directorn ar upptagen (1945), Per Gunvall directed the film Pippi Longstocking (Pippi Langstrump, 1949) with Viveca Serlachius and Benkt-Ake Benktsson. Lars-Eric Kjellin in 1949 directed the films The Lord from the Lane (Greven fran granden) with Mimi Nelson and Annalisa Ericson and Father Bom (Pappa Bom). In a film scripted by Rune Lindström, Ake Ohberg that year brought Sonja Wigert, Inger Juel and Margareta Fahlen to the screen in Destination Rio (Vi flyger pa Rio). Schamyl Bauman in 1949 brought Harriet Andersson to the screen in the film Playing Truant (Skolka Skolan). Maj-Britt Nilsson in 1949 appeared in the film Spring at Sjosala (Sjosalavar), produced by Rune Waldekranz and directed by Per Gunvall. Ivar Johansson in 1949 wrote and directed the film Lasky-Lasse goes to Delbo (Lang-Lasse i Delsbo), photographed by Sven Nykvist and starring Anna Lindal and Ulla Andreasson. The Swedish Horseman (Svenske Ryttaren) was directed by Gustaf Edgren in 1949 and starred Elisabeth Söström, Gunnel Brostrom, Gull Natorp and Barbro Nordin.

In 1950, Ivar Johansson directed When Lilacs Bloom (Nar Syrenerna blomma), photographed by Sven Nykvist and Land of Rye (Ragen Rike), photographed by Sven Nykvist and starring Nine-Christine Jonsson and Linnea Hillberg. Hasse Ekman that year directed Ingrid Thulin, Irma Christenson, Gertrud Fridh and Eva Dahlbeck in the film Jack of Hearts (Hjarter knekt), the first film in which Barbro Larsson would appear. The Newer, a novel by Albert Olsson published in 1947, was quickly adapted for Arne Mattsson, who directed Ingrid Thulin , Ruth Kasdan, Sigge Furst and Irma Christenson in the film When Love Arrived in the Village (Nar karleken till byn, 1950). Mattsson also that year directed Cruise Romance (Kyssen pa kryssen), starring Annalisa Ericson, Gunnar Bjornstrand and Ake Gronberg as well as Saucepans-journey (Kastrull-resan), starring Eva Dahlbeck and Sigge Furst. Scripted by G?sta Stevens and photographed by Ake Dahlquist, Gustaf Molander directed Eva Dahlbeck, along with Elsa Carlsson, Olaf Winnerstrand, Viveca Serlachius and Karl-Arne Homsten in the film Fastmo uthyres, 1950, the first film in which actress Birgitta Olzon was to appear. Ake Ohberg that year directed Ulla Sallert and Mimi Nelson in the film Young and in Love (Ung och kar). Kungs Film in 1950 produced Gosta Werner's film Across the Yard and Two Flights Up (Tva trappor over garden), photographed by Sten Dahlgren and starring Gertrud Fridh, Irma Christensen, Ilse-Nore Tromm, Sif Ruud, Lisskulla Jobs, Ann Bornholm, Ingrid Lothigius, and Else Fischer. Schamyl Bauman in 1950 paired Edvin Adolphson and Sickan Carlsson in Frokens forsta barn, a film that would include an early screen appearance of Swedish film actress Harriet Andersson. Froken forsta barn was photographed by Hilding Bladh. During 1950, both Birger Malmsten and Haide Göransson appeared on the same movie set together with the film Regementets ros, directed by Begnt Jarrel and photographed by Olof Ekman. Also in the film are Margareta Fahlen and Siv Thulin. Swedish film actress and acquaintance of Greta Garbo Mimi Pollack directed her first film, Mama gor Revolution, photographed by Elner Akesson and scripted by Elsa Appelquist, in 1950.

Peter Cowie looks to the film Summer Interlude (Sommarlek, 1950), starring Maj-Britt Nilsson, Alf Kjellin and Annalisa Ericsson, as being the film where Ingmar Bergman began to develop unique uses of film technique and a more extensive use of the close-up to dramaticly develop character. In his autobiography Images, Ingmar Bergman writes, "A touch of tenderness is achieved through Maj-Britt Nillsson's performance. The camera catches her with an affection that is easy to comprehend." In his autobiography Images, Bergman gives an account of his writing the script, "I wrote several versions, but nothing fell into place. Then Herbert Grevenius came to me aid. He chiseled away all the superfluous episodes and pulled out an original story." To continue the tradition established by Sjöström and Stiller of using the enviornment to convey theme in Swedish film, a tradition that would show Bergman's technique in Cries and Whispers as being that of a director that had filmed after Gustav Molander, Bergman discusses the lighting used in the film and his filming at twilight, "The landscape had a special mixture of a tempered countryside and wilderness, which played and important part in the different time schemes." Immediately after filming Summer Interlude, Ingmar Bergman went into the production of the film This Can't Happen Here (Sant Hander Inte Har). He writes, "I was not at all adverse to making a detective story or a thiller; that was not the reason for my discomfort. Neither was Signe Hasso the reason. She had been hailed as an international star who Svensk Filmindustri, with incredible naivete, had hoped would make the film a raging success." Again Herbert Grevenius was to be the scriptwriter with Bergman, his adapting for the screen a novel written by Peter Valentin. The cinematographer to the film was Gunnar Fischer, its editor Lennart Wallen. Alf Kjellin also appears on screen in the film as does actress Yngve Nordwall.

In 1951 Arne Mattson directed the film Rolling Sea/Carrying Sea (Barande Hav) with Eva Dahlbeck and Ulla Jacobsson. Eva Dahlbeck that year also appeared in the film Daisywheel Helena (Skona Helena), cowritten by Rune Walderkranz with its director, Gustaf Edgren and photographed by Hilding Bladh. That year Gosta Bernhard directed Kenne Fant in the film Poker, which also starred Ingrid Backlin and Margetha Löwler.

Swedish poet Folke Isaksson in 1951 published the volume Vinterresa, his following it in 1954 with the volume Det grona aret. 1953 saw the publication of Isaksson's novel Irrarder.

In 1952 G?sta Werner directed Ingrid Thulin in the film Mote med livet. The Long Search (Memory of Love, Han glomde henne aldrig, 1952), a film that had featured the daughter of Victor Sj?str?m, Guje Lagerwall, and Anita Bj?rk, had also starred Sven Lindberg, who co-directed the film with Robert B. Spafford. Lars Eric Kjellgren was again to be the director of Mimi Nelson, his teaming her with Annalisa Ericson that year for the 1952 film Say it with Flowers (Sag det med blommar), scripted by Gösta Stevens.

Noregian film director Arne Skouen in 1952 wrote and directed the film Forced Landing (Nordlanding), photographed byPer G. Jonson and starring Randi Kolstad.

Secrets of Women (Waiting Women, Kvinnors vantan, 1952) is of an episodic narrative structure, it being a film where "its narrative method gives us more variety than depth" (Birgitta Steene); each of the female characters narrates a retrospective account from their marriage, Bergman dividing the film not only between scenes but between characters as well. In the film are Anita Bj?rk, Maj-Britt Nilsson and Eva Dahlbeck. Anita Bj?rk and Jarl Kulle are filmed in close-up, Maj-Britt Nilsson and Birger Malmsten are shown on location in exterior shots and Eva Dahlbeck and Gunnar Bj?rnstrand are filmed by Gunnar Fischer in an elevator sequence during a dialouge scene involving mirrors which are "used to suggest the inanity of the repartee" (Peter Cowie) as the conversation is drawn out by the couple being filmed in a continuous take. Ingmar Bergman had based the scene on one of his own experiences. He writes, "There was something fateful about the meeting between the three of us: me, Eva and Gunnar. Both of them were talented and creative actors. They felt immediately that although I had perhaps not yet written a spectacular text, the collaboration offered them great oppourtunities.

Bergman writes that it was because he was so pleased with the acting performances of Eva Dahlbeck and Gunnar Bj?nstrand in Secrets of Women that he wrote A Lesson in Love (En lektion i karlek, 1953) for them in order to develop the theme of the elevator sequence more elaborately. Birgitta Steene also compares the two films thematicly, their both being concerned with the acceptance on the part of the female character of a husband within an erotic relationship. As in Secrets of Women, Bergman uses retrospective narrative to present the characters and storyline. Photographed by Martin Bodin, A Lesson in Love quickly introduces itself as a comedy with a voice over and a musical box. Gunnar Bjornstrand and Eva Dahlbeck meet each other on a train after a series of dialougue scenes that cutback and forth establishing the films interwoven narrative structure. The camera then holds Bjornstrand and Harriet Andersson in conversation during a series of scenes in which she falls alseep in his arms. Bergman uses the train compartment to keep Eva Dahlbeck and Bjornstrand in close up and in tight close up. The prolonged dialouge scenes that are contrasted with the complicated narrative framework then shift to the retrospective of Eva Dahlbeck as she is framed by a camera that pans only minimally. The storyline, after reintroducing Harriet Andersson into the film, concludes in Denmark.

In 1953 Erik Hampe Faustman directed Inga Tiblad, Annalisa Ericsson, Birgitta Valberg, Eva Dahlbeck and Ulla Sjoblom in the film House of Women (Kvinnohuset). Notably, Eva Dahlbeck also that year starred in Alf Sjöberg's film Barabbas, with Yvonne Lombard and Jarl Kulle. Rolf Husberg that year wrote and directed the film All the World's Delights (All jordens frojd), starring Ulla Jacobsson, Kenne Fant and Birger Malmsten. Gustaf Molander in 1953 directed Unmarried (Glasberget) starring Hasse Ekman and Gunn Wallgren.

Hidden in the Fog (I dimma dold) was directed in 1953 by Lars-Eric Kjellgren and starred Eva Henning, Sture Lagerwall and Sonja Wigert, its cinematographer, Gunnar Fischer. That year Lars Eric Kjellgren also directed Max von Sydow, Anne-Marie Gyllenspatz and Ingerid Vardund, Lissi Alandh in the film No Mans Woman (Ingen mans kvinna). The film also marks the first Swedish screen on screen appearance of Norwegian actress Ella Hval. Hasse Ekman in 1953 directed the film We three are making our debut (Vi tre debutera), starring Gunnar Bjornstrand and Maj-Britt Nilsson, the cinematographer to the film Gunnar Fischer. That year Eva Dahlbeck appeared in The Shadow (Skuggan), the first film directed by Kenne Fant. It was photographed by Kalle Bergholm and also starred George Rydeberg and Pia Arnell. That year Fant also directed Edvin Adolphson and Pia Skoglund in Wingbeats in the Night (Ving slag i nattan). Bror min och jag, directed in 1953 by Ragnar Frisk and starring Anna-Lise Baude included Birgitta Andersson in a small role, it being the first film in which she was to appear. Eva Dahlbeck appeared under the direction of Ake Ohberg in the 1953 film The Chief from Goingehovingden (Goingehovingden). Martin S?derhjelm in 1953 directed Fritiof Billquist in the film Dance with my Doll (Dansa min docka). Rolf Husberg in 1953 directed Swedish silent film actress Hilda Borgstrom in the film Each Heart has its Own Story (Vart hjarta har sin saga). Egil Holmsen that year directed Margit Carlqvist in the film Marianne. Carlqvist also during 1953 appeared in the film Path to Klockrike (Vagen till Klockrike), directed by Gunnar Skoglund and starring also starring Edvin Adolphson. The first two films directed by Stig Olin were released in 1953, both starring Alice Babs and Sigge Furst and both written by the director, I dur och skur, photographed by Hilding Bladh and also starring Yvonne Lombard, and Resan till dej, co-written by Hasse Ekman and photographed by Göran Strindberg, Anders Henrikson and Ulla Sjöblom having also starred in the film. Storm over Tjuro (1953), starring Gunnel Brostr?m and Margaretha Krook and Salka Valka (1954), starring Gunnel Brostr?m and Folke Sundquist, both directed by Arne Mattsson, were photographed by Sven Nykvist. Mattson in 1954 also directed the film Enchanted Journey (Fortroll ad vandrig).

During an interview, Ingmar Bergman told Stig Bjorkman, "Bibi has one or two lines in Smiles of a Summer Night, but she had already been in lone of my Bris films. Even at the time she had been in a lot of films: The Ghost at Glimmingehus and Dumbom. Bibi had started when she was sixteen." The Ghost at Glimmingehus (En Natt pa Glimmingehus, 1954), directed by Torgny Wickman, had also starred Begnt Logart, Gunnilla Akerrehn, Ingeborg Nyberg and Britta Ulfberg.

The Bris Soap commericial, Reklamfilm Bris, in which Bibi Andersson had appeared was one of the last of nine entitled The Princess and the Swineherd (Prinsessan och svinaherden, 1953). The commercials were filmed over a three year period and photographed by cinematographer Gunnar Fischer. In Images, Ingmar Bergman writes, "Later, during the time when movie production was shut down, I put together a series of commercials for the soap Bris (Breeze), and I had alot of fun challenging stereotypes of the commercial genre by playing around with the genre itself and making miniature films in the spirit of George Melies." The Magic Show (Trollenet), starring Lennart Lindberg had appeared in 1952. Lindberg also that year appeared in the commercial The Film Shooting, with Torsten Lilliecrona. Commercials filmed in 1951 had included Bris Soap (Tvalen Bris) with Barbro Larsson and King Gustavus III (Gustavianskt). Barbro Larsson in 1952 appeared in The Inventor (Uppfinnaren) and The Rebus (Rebusen). The Film Shooting (Tredimensionellt), with actress Marion Sundh, was filmed in 1953.

Kenne Fant in 1954 directed the film Young Summer (Ung sommar), photographed by Kalle Bergholm and starring Lennart Lindberg, Birgit Lundin and Edvin Adolphson and based on a novel by Per Olof Ekstr?m. Kenne Fant again directed Birgit Lundin in 1956 in the film I takt med tiden, written by Volodja Semitjov and photographed by Olof Ekman. That year Fant also directed The Taming of Love (Sa tukas karleken), starring Karin Ekelund and Jane Friedmann. The film was produced by Nordisk Tonefilm. Eric Hampe Faustman in 1954 directed Gull Natorp, Ulla Sjoblöm, and Marta Dorff in God the Father and the Gypsy (Gud Fader och tattaren) photographed by Swedish cinematographer Curt Jonsson and Annalisa Ericson in the film The Lunchbreak Cafe (Cafe Lunchrasten). Stig Olin in 1954 directed Hasse Ekman in his film The Yellow Squadron (Gula Divisionen) starring Meg Westergren. Dance on Roses (Dans pa rosor, 1954), starring Sickan Carlsson, was written and directed by Schamyl Bauman. Victory in the Dark (Seger i morker), directed by Gösta Folke appeared in Swedish theaters in 1954. Torgny Wickman in 1954 directed Astrid Bodin and Berit Frodi in their first appearances on screen in the film Girl Without a Name (Flicka Utan Namn), photographed by Rune Ericson and written by Volodja Semitjov. The film was produced by Sandrew-Bauman and also stars Karin Miller, Alf Kjellin and Els a-Ebben Thornblad. Swedish silent film director Alf Sjöberg in 1954 wrote and directed the film Karin Mansdotter, in which Ulla Jacobsson, Birgitta Valberg and Ulla Sjöblom appeared.

In addition to filming Smiles of a Summer Night (Sommarnattens Leende), in 1955 Ingmar Bergman directed Journey into Autmun (Dreams, Kvinnodrom). Peter Cowie writes that it was Anders Hendrikson that was to appear in the film, the role being written for him untill forfieted and taken by Gunnar Bjöstrand. Scripted by Bergman and photographed by Hilding Bladh, the film stars Eva Dahlbeck, Harriet Andersson, Inga Landre, Niama Wifstrand, Git Gay and Renee Björling.

Alf Sj?berg in 1955 wrote and directed the film Wild Birds (Vildfaglar), starring Maj-Britt Nilsson, the cinematographer to the film Martin Bodin. The film is based on the novel Nisse Bortom written by Bengt Anderberg. Anders Henrikson in 1955 directed the film Married (Giftas) in which he starred with Gösta Cederlund, Anita Björk and Mai Zetterling. The film was produced by AB Europafilm. Stig Olin that year directed Ingrid Thulin in the film Hoppsan, Borje Larsson that year directing her in the film The Dance Hall (Danssalongen) with Sonja Wigert. Stig Olin in 1955 also wrote and directed the film Mord, lilla van, photographed by Hilding Bladh and starring Inga Landre and G?sta Cederlund. The first film in which Gio Petre was to appear ,(The Merry Boys of the Fleet (Flottans muntergokar), was in theaters during 1955. Directed by Ragnar Frisk, the film starred Marianne Löfgren, Rut Holm and Rene Bjorling. Ragnar Frisk that year also directed Annalisa Ericson in the film Merry Go Round in the Mountains (Karusellen i fjallen). Gustaf Molander in 1955 directed the film The Unicorn (Enhorningen), starring Sture Lagerwall, Inga Tiblad, Edvin Adolphson and Briger Malmsten, the film's cinematographer Martin Bodin. Schamyl Bauman that year directed Darling at Sea (Alskling pa Vagen), scripted by Solve Cederstrand and Sjuth and starring Sickan Carlsson and Sigge Furst. The Last Form (Sista ringen), directed in 1955 by Gunnar Skoglund, brought George Rydeberg, Marianne Aminoff and Marta Arbin to the screen along with Margareta Henning in what would be her first film appearance. Swedish film director Torgny Wickman in 1955 directed Catherine Berg in her first film, Blocked Tracks (Blockerat spar) with Alf Kjellin and Torsten Ulliecrona. The following year, Bengt Blomgren directed and starred with Gunnel Lindblom in the film Gunpowder and Love (Krut och Karlek, 1956). He followed it with the film Linje sex, starring Margit Carlqvist and Ake Gronberg. Georege Arlin directed his first film that year Bla himmel starring Ingeborg Nyberg, Barbro Larsson, Mim Ekelund and Monica Nielsen.

Finnish film actress Tuija Halonen was bginning to become known to film audiences in 1955 with the film Near to Sin (Lahella Syntia, Nara Synden) directed by Hannu Leminen. The previos year she had starred in the film Enchanted Night (Taikayo), directed by Willaim Markus and based on the 1946 novel by Martti Larni. She would later, in 1959, appear on the screen in Fate Makes its Move (Kohotalo Tekee Siiron) directed by Armand Lohikoski.

Hasse Ekman in 1956 directed the film Private Entrance (Engang ingang), photographed by Gunnar Fischer and starring Maj Britt Nilsson and Bibi Andersson. Rolf Husberg that year directed Anita Bj?k and Brita Oberg in the film Moon over Hellesta (Moln Over Hellesta) Its script is based by the novel Moln over Hellesta, published by Swedish author Margit Soderholm a year earlier. The previous year Soderholm had published the novel Jul pa Hellesta. Photgraphed by Goran Strindberg and starring Maj-Britt Nilsson and Karlheinz Bohm, A Girl for the Summer (Sommarflickan, 1956) was brought to the screen by the directors Thomas Engel and Hakan Bergstrom. Kenne Fant in 1956 directed Eva Dahlbeck in the film Tarps Elin, the film also starring Ulf Palme, Marta Arbin and Fritiof Billquist. Mimi Pollack, who had studied at the Royal Dramatic Academy with Greta Garbo. in 1956 directed, The Right to Love (Rattaen att alska), starring Max von Sydow. Gunnar Hellström that year brought Harriet Andersson to the screen in Children of the Night (Nattbarn), starring Birgitta Olzon. Scriptwriter Barbro Boman that year directed the film It's Never Too Late (Det ar aldrig for sent). Gunnar Skoglund in 1956 brought Kristina Adolphson and Catrin Westerlund to the screen in the film Blanande hav. Arne Mattsson that year directed the film Girl in a Dressing Gown (Girl in Tails/Flickan i frack), produced by Rune Waldkranz and scripted by Herbert Grevenius. The films stars Maj-Britt Nilsson, Sigge Furst, Kerstin Duner and Elsa Prawitz. Mattsson also that year directed the film A Little Nest (Litet bo).

Bergman writes that the screenplay to The Last Couple Out (Sista Paret Ut, 1956) "had been floating around Svensk Filmindustrustri for a long time in synopsis form." He continues by writing, "Working rapidly, Sj?berg and I started churning out the screenplay for The Last Couple Out, from which Sj?berg later wrote his own version." The earlier title for the script written by Ingmar bergman had been For the Children's Sake. The film, photographed by Martin Bodin and edited by Oscar Rosander, is written around a character portrayed by Bjorn Bjelvenstam, his becoming involved romantically with characters played by Harriet Andersson, who was closing out an affair with Bergman, and Bibi Andersson, who was begining an affair with the director. Added to the plotline is the dialouge between Bjelvenstam and the character portrayed by Eva Dahlbeck. Cowie quotes Alf Sjöberg as having said,"It was an old script and marked an unhappy stage in our collaboration." Last Couple out was the first film in which Mona Andersson was to appear.

Having starred in a number of films, including Playing on the Rainbow (Lek pa regnbagen, Lars-Eric Kjellin 1957), a film written by Vigot Sjöman and photographed by Gunnar Fischer in which he co-starred with Mai Zetterling, Alf Kjellin wrote and directed A Girl in the Rain (Flickan i regnet) with Gunnel Lindblom, Pia Skoglund, Bibi Andersson and Marianne Bengtsson in the first film in which she was to appear as well as directing Twilight Meetings (Encounters at Dusk/Moten i skymningen (1957), based on a novel by Pers Anders Folgelstrom, with Eva Dahlbeck , Birger Malmsten and Ake Gronberg, the scriptgirl to the film having had been being Katherina (Katinka) Farago and the cinematographer again having had been being Gunnar Fischer. Arne Mattson that year directed Spring of Life (Livets Var) and No Tommorow. The following year he directed There Came Two Men, The Lady in Black (Damen i svart), with Anita Bj?rk, Lena Granhagen and Annalisa Ericson, a film shot mostly in interior scenes with the use of low-key lighting, and Mannequin in Red (Mannekang i rott), with Rune Carlsten and Anita Bj?rk. Hasse Ekman in 1957 directed Eva Dahlbeck, Bibi Andersson and Gunnar Bj?nstrand in A Summer Place is Wanted (Summer Cottage, Sommarnoje sokes). He also that year directed With a Halo Askew (Med gloria pa sned) with Sickan Carlsson and Sture Lagerwall. Arne Ragneborn in 1957 directed Ingrid Thulin in the film Aldrig i livet. Stig Olin that year directed Guest at One's Own Home (Gast i eget hus) with Monica Nielsen and Anita Bj?rk. Lars-Magnus Lindgren in 1957 directed the film A Dreamer's Walk (En drommares vandrig, photographed by Sven Nykvist and starring Margit Carlqvist, Jarl Kulle, Keve Helm, Inga Landre, Linnea Hillberg and Brita Oberg. Also appearing in the film is Eric Hell. Hans Lagerkvist in 1957 directed the film The Rusk (Skorpan), photographed by Martin Bodin and starring Marianne Bengtsson, Anna-Lisa Baude and Fritiof Billquist. Marianne Bengtsson that year also appeared in the film Night Light (Nattens ljus), directed by Lars-Eric Kjellgren and photographed by Ake Dahlqvist. Gunnar Bjornstrand and Birger Malmsten star with Bengtsson. Written and directed by Goran Gentele, Varmlanningarna (1957), was photographed by Karl-Erik Alberts. Not only does the film star Busk Margit Jonsson, Marta Dorff and Marta Arbin, but Greta Garbo biographer Fritiof Billquist also appears in the film.

Swedish film director Ingmar Bergman and the present author feel very much the same about the film The Brink of Life (Nara livet 1957). In his autobiography, Images, Bergman writes, "I sat watching the same film years later in the darkness, alone and influenced by no one....When the movie ended, I sat there, suprised at myself and a little annoyed- I suddenly liked the old film." While explaining Bergman introduces the film as a story written around three characters, these being portrayed in the film by Eva Dahlbeck, Bibi Andersson and Ingrid Thulin. He describes it as "warm, honest and intelligently done, with first-class performances." He also gives a nod to Max Willen, the film's cameraman, who during the filming was "an adequate craftsman without any sensitivity". Peter Cowie writes, "Brink of Life is the first of those Bergman movies in which dialog and characterization take precedence over scenery and locations."

Norwegian Film director Arne Skouen in returned to directing in 1957 with the film Nine Lives (We Die Alone/ Ni liv) produced by by Fotorama and photographed by Ragnar Sorensen. The film stars Lydia Opoien, Henny Moan and Grete Norda. He continued the following year by directing A God and His Servants (Herren og hans tjener, 1958) based on the 1955 play by Axel Kielland. The film, photographed by Finn Bergan, stars Urda Arneberg, Anna-Lise Tangstad and Wenche Foss.

In 1958 G?sta Stevens and Hasse Ekman co-scripted two films that were directed by Ekman, The Great Amateur (Den Store amatoren), with Marianne Bengtsson, and Jazz Boy (Jazzgossen), in which he starred with Maj-Britt Nilsson and Alice Babs. Goran Gentele in 1958 brought Lena S?derblom to the screen in the film Miss April (Froken April), in which she starred with Gunnar Bj?rnstrand. Froken April was the film that would introduce Swedish actress Gunilla Ponten. In 1958, Jan Molander directed Harriet Andersson in Woman in Leopardskin (Kvinna i leopard), which, adapted from his own screenplay, was his debutorial film as a director. The film also stars Ulf Palme, Renee Bjorling, Siv Ericks, Mona Malm. Stig Olin that year directed Andersson in Commander of the Navy (Flottans overman). Stig Olin that year brought the film You are My Adventure (Du ar mitt aventyr) to the screen. Greta Garbo biographer Fritiof Billquist appeared on screen with Astrid Bodin, Ann-Marie Gyllenspetz, Git Gay and Ulla-Bella Fridh in the film Travel to Sun and Spring (Far Till Sol och Var), directed by Lars-Eric Kjellgren and photographed by Martin Bodin

In 1959 Hasse Ekman directed the films Good Heavens (Goodnes Gracious/Himmel och pannaka) and Miss Chic (Froken Chic), both starring Sickan Carlsson and co-scripted by G?sta Stevens. Both films were photographed by Martin Bodin. Alf Kjellin that year returned Alice Babs to the screen in the film Swinging at the Castle (Det svanger pa slottet, which also starred Yvonne Lombard and Lena Granhagen. Goran Gentele in 1959 brought Jar Kulle and Lena Söderblom to the screen in the film The Theif in the Bedroom (Sangkammartjuven.

In 1959 Arne Mattsson directed Rider in Blue (Ryttare i blatt), the first film in which the actress Solveig Ternstr?m was to appear, and Lend me your Wife (Far jag lana din fru?), with Annalisa Ericson. In 1960, Mattsson directed When Darkness Falls (Na morkret faller) with Nils Asther and Birgitta Pettersson and Summer and Sinners (Sommar och sydare) with Gio Petre, Yvge Gamlin and Elsa Prawitz. In 1961, he followed with The Summer Night is Sweet (Lovely is the Summer Night, Ljuvlig ar sommarnatten), photographed by Tony Forsberg and starring Marta Albin, Elsa Prawitz, Tekla Sjoblom and Christina Carlwind in her first appearance on the screen.

Kenne Fant in 1959 directed the film The Love Game (Den kara leken) with Bibi Andersson, Sven Lindberg and Lars Ekborg, his following it in 1960 with The Wedding Day (Brollopsdagen), in which Bibi Andersson stars with Elsa Carlsson. Both films were photographed by Swedish cinematographer Max Wilen. Alf Sj?berg in 1960 directed Ingrid Thulin and Mona Andersson in the film The Judge (Domaren), the film's cinematographer Sven Nykvist. That year Rolf Husberg directed the films Av hjartans lust and Tarningen ar karstad starring Anita Bj?rk and Gio Petre. Hasse Ekman in 1960 wrote and directed both The Decimals of Love (Karleckens decimaler), based on a novel by G?sta Gustaf-Jansons and starring Eva Henning and Eva Dahlbeck and On the Beach in the Park (Pa en bank i park), in which he starred with Lena Granhagen and Sigge Furst. Helena Brodin appeared in her first film in 1960, Three Wishes (Three Desire/Tre Onskningar). Directed by Goran Gentele, the film also starred Eva Dahlbeck and Mimi Nelson.

After having directed the film The Pleasuregarden (Lustgarden, 1961), a film scripted by Ingmar Bergman and Erland Josephson, photographed by Gunnar Fischer and starring the "polished performances" (Robert Emmet Long) of Bibi Andersson, Gunnar Bj?nstrand, G?sta Cederlund and Sickan Carlsson, Alf Kjellin directed Harriet Andersson in his film Siska-en kvinnobild, in 1962. The film was photographed by Gunnar Fischer. Ragnar Frisk directed Anita Lindblom in We Fix Everything (Vi fixar allt) in 1961, in Tre dar i buren in 1963 and again in Three Days A Vagabond (Tre dar pa luffen) in 1964. Vi fixar allt was the first film in which the actress Anna Sundqvist was to appear. Also in the film is Swedish actress Sangrid Nerf. Hasse Ekman in 1961 directed the film The Job/Braces (Stoten) with Gunnar Hellstrom, Tor Isedal, Maude Adelson and Ann-Mari Wiman. That year the first film directed by Lars Magnus Lindgren, There are no Angles (Anglar, finns dom) was to star Christine Schollin and Margit Carlqvist.

During 1962, Sandrew Film produced the film One Zeroe Too Many (En Nolla For Mycket) directed by Bjorje Nyberg and photographed by Hilding Bladh. The film stars Birgitta Andersson, Toivo Pawlo, Mona Malm and Lill-Babs.

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scottlord5 Modern Swedish Film

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The copy of Exposed (Exponerad, Gustav Wiklund 1971), starring Christina Lindberg and the actress Siv Ericks, seen by the present writer was in Swedish and had no subtitles.

Jan Halldoff directed The Office Party in 1971 and The Last Adventure (Det Sista Aventyret) in 1975.

Theater audiences in Denmark in 1974 were to view the film I Tgrens tegn, directed by Werner Hedman and starring actreeses Sigrid Horne-Rasmussen and Susanne Breuning.

Leena Hiltonen appeared in two films under the direction of Joseph W. Sarno, Love Island (Karlekson, 1977) and Come Blow Your Horn (Fabodjantan), in which she starred with Marie Bergman.

Scott Lord wants to share "Marie Liljedahl (1950 - )"

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Greta Garbo biographer Richard Corliss, in an article entitled Last Roar From A Legend, quoted Ullmann as having said, "I take a pencil in my hand, ...

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The beauty of the silent film of Greta Garbo, including The Divine Woman, ... Google Groups Beta. scottlord- Greta Garbo. Visit this group ...

See "Google Notebook" on your Google homepage

noreply@blogger.com (scottlord- Swedish Film and the Svenska Filminstitutet) — Wed, 14 Oct 2009 14:10:00 -0700

Your friend, victorseastrom@gmail.com, has sent you the following Google Gadget.

See "Google Notebook" on your Google homepage »

Greta Garbo - Google Notebook

noreply@blogger.com (scottlord- Swedish Film and the Svenska Filminstitutet) — Wed, 14 Oct 2009 14:08:00 -0700

I've published a Google Notebook named "Greta Garbo". Check it out at:

http://www.google.com/notebook/public/06545998963220805396/BDQE8SgoQ4OWxsr8j

Greta Garbo - Google Notebook

noreply@blogger.com (scottlord- Swedish Film and the Svenska Filminstitutet) — Wed, 14 Oct 2009 14:07:00 -0700

I've published a Google Notebook named "Greta Garbo". Check it out at:

http://www.google.com/notebook/public/06545998963220805396/BDQE8SgoQ4OWxsr8j